RECONSTRUCTION OF THE HAGUE CENTRAL STATION
released on Antilounge Records
“Reconstruction of The Hague Central Station” — a site-specific release capturing movement in time, intermodal resonances and hidden sonic architectures.
The record is entirely sourced from field recordings made in and around The Hague Central Station and the reconstruction of its entrance at Koningin Julianaplein.
Experience urban sounds from the acoustic spectrum, infrasound, and electromagnetic fields; reconstructed into experimental soundscapes, hypnotic drones, dark textures, and industrial rhythms.
TRACKLIST
01. OKIN-OMIS & Sem Zeeman - Intermodal
02. OKIN-OMIS - Crouwel
03. OKIN-OMIS - Lozenge
04. OKIN-OMIS & Sem Zeeman - Terminus
05. OKIN-OMIS - Lozenge (Foresense Remix)
![[artwork] OKIN-OMIS - Reconstruction of The Hague Central Station.png](https://static.wixstatic.com/media/3154af_801bce00da634d949e73e71ada6d7609~mv2.png/v1/fill/w_422,h_422,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/%5Bartwork%5D%20OKIN-OMIS%20-%20Reconstruction%20of%20The%20Hague%20Central%20Station.png)
CREDITS
Sound design, production and mix by OKIN-OMIS and Sem Zeeman(*)
All sounds sourced from field recordings
All recordings captured with a Zoom H5 in and around The Hague Central Station on 02.24.2025, 02.25.2025 and 12.29.2025
Artwork by Sem Zeeman
Master by Foresense
Released on Antilounge Records
(*) Except for track 5:
Sound design by OKIN-OMIS and Foresense
Production and mix by Foresense
01. INTERMODAL
“Intermodal” opens the record within the raw environment of a construction site at The Hague Central Station’s new entrance at Koningin Julianaplein. As multiple modes of transport converge in the station hall inside — heavy machinery, reversing signals, and metal structures establish a dense, physical presence outside.
These sounds are gradually stretched and reshaped, dissolving into low-frequency tones, dark layers and spectral noise. The track moves from concrete reality into a manipulated and disorienting abstraction, that reveals underlying resonances within a place in transition.
02. CROUWEL
“Crouwel”, named after the station’s architect, shifts focus to the station’s underlying structure. Constructed from infrasound generated by public transport systems, the track unfolds as a slow-burning, bass-driven composition shaped by submerged pulses and mechanical force.
Moving at the pace of an approaching train, fragments of construction activity form restrained industrial rhythms. Subtle electromagnetic interference exposes hidden layers beneath the surface, as intermodal friction — squeals, bells and movement — is reconfigured into a hypnotic, internalized scape.
03. LOZENGE
“Lozenge” translates the station’s activity into rhythm and propulsion. Broken kick patterns, hard-hitting percussion, and rolling toms — derived from infrastructural site — drive the track forward with sustained intensity.
The track maintains the pace of departing high-speed trains, balancing rigid impact with continuous groove. Patterns fracture and reassemble through structered repetition, reflecting the lozenge-shaped geometry of the station’s roof. Around this structure, voices of travelers, rain, construction and electromagnetic fields drift through the composition, forming a fluid and unstable sonic atmosphere.
04. TERMINUS
"Terminus" closes the record by returning from abstraction to the physical site. Suspended tones, icy textures and diffused harmonics — shaped from heavily manipulated source material — create a spacious, atmospheric opening.
Gradually, fragments of the environment re-emerge: rain and distant machinery anchor the composition as low-end pulses surface beneath it. The track retraces the trajectory of the opening piece, allowing the abstract to fold back into the physical. It ends in a state of industrial instability — a space still in transition, continuously shifting.
05. LOZENGE (FORESENSE REMIX)
“Lozenge (Foresense Remix)” reimagines the wider sonic framework of “Reconstruction of The Hague Central Station”.
Drawing from the EP’s source material, fragments of construction activity, public transport systems and electromagnetic interference are extracted and reassembled into a new compositional framework.
Through a distinct approach to tempo, processing and synthesis, Foresense reconstructs these traces into his own artistic interpretation of the site.
