Urn - DEVEQUT (2024)

𝑾𝒉𝒂𝒕 𝒉𝒂𝒗𝒆 𝑰 𝒋𝒖𝒔𝒕 𝒍𝒊𝒔𝒕𝒆𝒏𝒆𝒅 𝒕𝒐?
In the most positive of ways. Musically, the inability to be classified is something Weltschmerzen holds in highest regard.

DEVEQUT is URN’s third solo album, and his first collaboration with Weltschmerzen. It offers multiple modes of listening. It could be Christmas music, or an album that you listen to driving through a barren winter country, a desolate mountain pass, or by a fireplace. Not an electronic album, neither an acoustic one. Not entirely jazz or trap, but… there is just so much gleaming through.
Depth and shadows.

Jakub Volovar is a long-recurring persona on the Slovak experimental music scene. Back in the early 2010s, blasting guitars in 𝑫𝒂𝒘𝒏 𝒕𝒐 𝑪𝒐𝒎𝒆, the most uncompromising sludge band at that time; which later disbands to bring Volovar and Peter Kusnirik (drums) back together in the most beautiful, dreamy yet resolute, and especially - 𝒕𝒐𝒖𝒄𝒉𝒊𝒏𝒈 - post-jazz trio 𝑰𝒏𝒉𝒆𝒓𝒊𝒕𝒂𝒏𝒄𝒆 (with Alex Strapkova on the piano). Departing their ways after 3 EPs for URN to finally release his first 2 solo albums on the Czech label Stoned to Death in 2019 and 2020.

Collage is an approach that works really great, unless you make it fall apart. DEVEQUT presents a journey through a range of sounds, moods and genres and in the span of only 8 tracks, makes us glance into what goes on in Volovar’s head and heart. It’s 8 tracks that neither Bohren and der Club of Gore, Flying Lotus, Erik Honoré, nor Arca would feel ashamed for. DEVEQUT does not, at any moment, fall apart.



There is definitely doom in all of URN’s music. However, it’s so skilfully arranged that it never emerges into prominence. Unlike so many artists who hide their lack of skills // content behind cheap gloom, noise and heaviness, here, doom // weltschmerz only shines through in subtlety. And it is what URN manages in excellence.