All titles composed, played and produced by Remy Stroomer.
Recorded and mixed between January and April 2006 by Remy and Ewout at the AKH Studio, IJmuiden.

Lyrics by Remy.
Vocals on Maze and Déja Vu by Mattie (from Todd The Nose).
Vocals recorded at Mattie's home.

Being: piano recorded at fam. Beaujean, 04.04.2006.
Destination recorded live at the Pelibar, Leiden, 24.03.2006
Contains samples of Déja Vu.

Mastering by Ron Boots.

Artwork: Ewout Koek

The Netherlands has a thriving electronic music scene, it seems; Remy is one of the many Dutch artists with a growing catalogue, while also running his EM dedicated record label, AKH Records. Sense, released in 2006, is his latest album so far, with 5 other albums in his personal catalogue.

This is the first album by Remy I have heard, so I was not sure what to expect. As it turns out, the album is largely symphonic and wide, with 6 relatively long tracks and a dramatic, dark atmosphere in many of the tracks. Destination is especially sinister with some backwards string/pad sounds creating an almost gothic feeling. The addition of male singing/chanting/poetry works well, as does the weird sound effects (think VCS3 brrrps and screaming analogue synths), and in the latter half a sequencer kicks in to give the track more dynamics. This track is perhaps the highlight of the album, as it offers two halves that are different in structure and instrumentation, but still compliment eachother and having that cool horror movie feel to then. The soundtrack to a Jack the Ripper Victorian movie?

The musical darkness continues in Behaviour, which in spite of it's angelic synthesizer choirs creates a Goblin-like anticipation - where are the zombies? More of the same, but in a grander scale, can be found in Mortality, where a sequencer pattern and various electronic drumming/percussion (of which some sound almost distorted) adds an eerie, transparent feeling of running, flying or falling.

Maze is a weaker track; a male voice reads poetry backed by 1980s synth bass and string sounds, but it sounds too much like a specific 80s Software track, and that is not a good thing. As it's another long track, it develops into something completely different around the 10 minute mark, but the somewhat fake sounding strings continue and the voice is now replaced by a poppy drum pattern, which, as it breaks up the mood, is a welcome addition but does not elevate the track itself. The last 4 minutes or so is more fun; the funky drums continue (and are added to) and two synth leads are introduced, sounding like they would have worked great in a live situation. Let's say one third of the track Maze maintains high quality due to it's originality, fun sounds and lively lead playing.

The final track is mostly electronic strings and synth pads, with more male poetry chanting. By now that feature has outstayed it's welcome for me, as the effect has already been used twice in a similar manner. The track sounds powerful enough without the voice, with its wide, fat stringscapes that reminds me of Goblin and also the mighty string sounds of the Elka Synthex.

Sense is quite an original album, at least within the spacey melodic European tradition. It does not fall into a specific electronic category, but shows an artist with integrity who tries to think outside the box, while still keeping his musical concepts on familiar grounds. Making an electronic album with fresh compositions that are both classic and original seems like a lost art these days. The album's strongest side is its epic and wide songs that are somewhat traditional, but featuring some interestingly tweaked and unusual sounds. On the weak side, the album's technical sound could be slightly more dynamic and spicey and crisp engineering-wise, and sounds somewhat flat now. But for it's type of music, Sense is a successful album that balances on the fine edge between traditionalism and experiments within the given format.

Rating 7.5 of 10

November 2007. Glenn Folkvord / Origo Sound
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This release from 2006 offers 69 minutes of classically tinted electronic music. Joining Remy is Mattie (from Todd the Nose) on vocals on two tracks.
Pensive music that combines classic piano with versatile electronics, fusing tradition and modern to produce a rewarding sonic experience rich with drama. While electronic textures pulse and waft, threaded with string quartets, delicate chords dance across the piano keys, evoking emotional sentiments. Electrical discharges and whistling cybernetics flutter through a gathering fog of imminent extravagance.
Other times, heavenly choirs descend into a slowly accreting realm of synthetic agitation.
The blend of old school and technology is superbly handled, resulting in a lush panorama that plays to the advantages of both sounds. While celestial airs coalesce overhead, machinery generates a thrilling modern foundation of serpentine rhythms swimming in vibrant electronics.
The two pieces that feature vocals (one of which comprises recitations, while the other utilizes romantic masculine crooning) are steeped in classical overtones, manifesting as orchestral cellos and a rising tide of violins. Peppy percussion enlivens one of these tracks, injecting a contemporary flavor into the concert hall milieu; searing synth guitar completes this futurist flair.
The "Destination" track was recorded live at the Pelibar in Leiden on March 23, 2006, and contains samples from the last track on this cd.

January 2007. Matt Howarth / Sonic Curiosity
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The Netherlands has a thriving electronic music scene, it seems; Remy is one of the many Dutch artists with a growing catalogue, while also running his EM dedicated record label, AKH Records. Sense, released in 2006, is his latest album so far, with 5 other albums in his personal catalogue. This is the first album by Remy I have heard, so I was not sure what to expect. As it turns out, the album is largely symphonic and wide, with 6 relatively long tracks and a dramatic, dark atmosphere in many of the tracks. Destination is especially sinister with some backwards string/pad sounds creating an almost gothic feeling. The addition of male singing/chanting/poetry works well, as does the weird sound effects (think VCS3 brrrps and screaming analogue synths), and in the latter half a sequencer kicks in to give the track more dynamics. This track is perhaps the highlight of the album, as it offers two halves that are different in structure and instrumentation, but still compliment eachother and having that cool horror movie feel to then. The soundtrack to a Jack the Ripper Victorian movie? The musical darkness continues in Behaviour, which in spite of it's angelic synthesizer choirs creates a Goblin-like anticipation - where are the zombies? More of the same, but in a grander scale, can be found in Mortality, where a sequencer pattern and various electronic drumming/percussion (of which some sound almost distorted) adds an eerie, transparent feeling of running, flying or falling. Maze is a weaker track; a male voice reads poetry backed by 1980s synth bass and string sounds, but it sounds too much like a specific 80s Software track, and that is not a good thing. As it's another long track, it develops into something completely different around the 10 minute mark, but the somewhat fake sounding strings continue and the voice is now replaced by a poppy drum pattern, which, as it breaks up the mood, is a welcome addition but does not elevate the track itself. The last 4 minutes or so is more fun; the funky drums continue (and are added to) and two synth leads are introduced, sounding like they would have worked great in a live situation. Let's say one third of the track Maze maintains high quality due to it's originality, fun sounds and lively lead playing. The final track is mostly electronic strings and synth pads, with more male poetry chanting. By now that feature has outstayed it's welcome for me, as the effect has already been used twice in a similar manner. The track sounds powerful enough without the voice, with its wide, fat stringscapes that reminds me of Goblin and also the mighty string sounds of the Elka Synthex. Sense is quite an original album, at least within the spacey melodic European tradition. It does not fall into a specific electronic category, but shows an artist with integrity who tries to think outside the box, while still keeping his musical concepts on familiar grounds. Making an electronic album with fresh compositions that are both classic and original seems like a lost art these days. The album's strongest side is its epic and wide songs that are somewhat traditional, but featuring some interestingly tweaked and unusual sounds. On the weak side, the album's technical sound could be slightly more dynamic and spicey and crisp engineering-wise, and sounds somewhat flat now. But for it's type of music, Sense is a successful album that balances on the fine edge between traditionalism and experiments within the given format. Rating 7.5 of 10

This release from 2006 offers 69 minutes of classically tinted electronic music. Joining Remy is Mattie (from Todd the Nose) on vocals on two tracks.
Pensive music that combines classic piano with versatile electronics, fusing tradition and modern to produce a rewarding sonic experience rich with drama. While electronic textures pulse and waft, threaded with string quartets, delicate chords dance across the piano keys, evoking emotional sentiments. Electrical discharges and whistling cybernetics flutter through a gathering fog of imminent extravagance.
Other times, heavenly choirs descend into a slowly accreting realm of synthetic agitation.
The blend of old school and technology is superbly handled, resulting in a lush panorama that plays to the advantages of both sounds. While celestial airs coalesce overhead, machinery generates a thrilling modern foundation of serpentine rhythms swimming in vibrant electronics.
The two pieces that feature vocals (one of which comprises recitations, while the other utilizes romantic masculine crooning) are steeped in classical overtones, manifesting as orchestral cellos and a rising tide of violins. Peppy percussion enlivens one of these tracks, injecting a contemporary flavor into the concert hall milieu; searing synth guitar completes this futurist flair.
The "Destination" track was recorded live at the Pelibar in Leiden on March 23, 2006, and contains samples from the last track on this cd.

January 2007. Matt Howarth / Sonic Curiosity
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January 2007. Phil Derby / Electroambient Space
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The Dutch Remy might not be a stranger to those familiar with electronic music in the broader sense of the term. Trained at the conservatory, this musician already delivered five cd's. With 'Sense' he takes – so he claims – a new road, one in which he wishes to express more of his own personality.

The six placid but fairly dark and classically tinged soundscapes that Remy made for 'Sense', give you the idea you should be watching a gloomy yet beautiful avant-gardistic film whilst listening to them. Images of a lost world that was once the home of an artistic society come to mind. Every now and then this world comes back to life, when the sad undertone of the music turns somewhat hopeful.

Delicate synths, muffled choirs and sad singing, threatening slow beats that are so low that you can hear the vibrations. These elements where best combined, in my opinion, in the opening track 'Being' and in the last song 'Deja Vu', in which some interesting male vocals are to be heard, as well. Although I am not a big fan of soundscapes, Remy's work can certainly bare my approval.

Small point of criticism: no-one can in my view afford to make a song that last 20 minutes, like Remy did in 'Maze'. Perhaps that my ears are not attuned to soundscapes well enough, but it could not keep me interested for such a long time.

03.09.2006. Magdusia / Gothronic
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Impressive ambiences completely alien to everyday experience, melodies that narrate fascinating experiences, sequencer rhythms that immerse us into spectacular adventures, these are the three ingredients in this work. Remy is a composer with a special ability to transmit emotions with his music. Listening to the different pieces in the album we can have the feeling that we are living decisive events of the kind that mark a "before" and an "after" in the life of a person.

27.08.2006. Edgar Kogler / Amazing Sounds
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Dark pads and piano playing start the first track "Being". Quite dramatic stuff and different for Remy. Subtle synth flashes glow from beneath, but otherwise "Being" is just a stark, dark and cold soundscape. "Destination" begins in no less dark manner, with low noises and sparse effects. A melody is trying to reach the surface but is suffocated by the dark monolithic sea of sound. Distant singing can be heard that adds to the spookiness of it all. At this moment it all sounds like a Dark Ambient album. Gone are the Schulze references, although with a bit of strain you can sort of compare it with the darkest moments on "Moonlake". After 6 minutes an echoey sequence appears, without interrupting the soundscape. A Moog sound cries on top. However, things remain decidedly dissonant, jarring and un-musical. Interesting stuff. Another sequence soon joins and we have finally entered the more familiar Berlin School territory, although the feeling of unease never really lets go. Mellotron chords (chorus) can be heard in the background. Very intense stuff and at this stage it becomes very Schulze-like (1996 - 2006 period). And for dessert we have a ripping Moog solo that just screams! Track three, called "Behaviour" has a few seconds of abstract sounds but after a while Mellotron choir comes into play. Very beautiful stuff. The sound gets more intense and a sequence slowly creeps in. It then subsides to let the sounds float on their own. However, after a few seconds, the sequence returns only to end some moments later and give way to an abstract outtro. "Maze" has barely heard sounds as the beginning. Really deep stuff and very enjoyable. A cello-like sequence starts and a male voice recites some title-related prose. It all continues in this mode for a while. The music itself is very classically-oriented, with strings, lots of cello melodies and slap bass. This piece manages to invoke the feeling of unrest. A fast rhythm then appears while the cellos continue playing their improvised symphony. Amazing, anguished, but at the same time playful music. I must say that the Schulze influences are very strong here. It's not a copy, of course, but this track could have easily been composed by Klaus circa 1990. A roaring Moog solo can be heard on top. Immaculately done! "Mortality" is next. Bell-like sequences are combined with heavy noises and hums. A Mellotron choir can be heard and overall this track reminds me very much on "Moogetique" from Klaus' "Body Love Vol. 2". However, after a while a marching bass rhythm appears that's combined with more rhythmic sequences. This is the most 70's-sounding piece on the album. The sequences are very 1977-1978 Schulze, although some harsher / more disturbing sounds can also be heard. I like this one. Juxtaposing beautiful sounds that describe the beauty of eternity and the ugly ones that express the mortality of our own little lives he goes for the obvious solution, but in the end, it works. A track named "Deja Vu" concludes this album with mucho Mellotron choir, male singing and strange vocal / noisy effects. "Sense" shows us a more mature Remy and sees him push his music a bit farther, while still retaining the influences. Best track on the album: "Mortality".

26.08.2006. Artemi Pugachov / Encyclopedia Of Electronic Music
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Erg geslaagd, lekker donkere sfeer, op het gotische af. En zeker vernieuwend t.o.v. je vorige werk. Mooi uitgebalanceerd geluid ook.

29.07.2006. Steven & Stella / Iuno
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I always loved Remy’s music. His long exploratory titles with constant changes of directions in a Schulze way hooked me at first hearing. Warned about a ’’different style’’ I was expecting this new Remy with anxiety. Being starts well. The environment is intimate. A soft piano and a cello court themselves on a melodramatic screen. A little like film credits, the notes run with beauty and are based in a beautiful dark melody. Destination is, indeed, quite different. Heavy atmospheric winds are surrounding by sounds effects with a voice that seems to emerge from a bad dream. Feedbacks are dancing on bass line sequence in the Pink Floyd On the Run moods. This whole mess is getting together to form a funky bass beat that turns into a zombie walk trance. Heavy synths circulate in increasingly agitated spheres, with loud choirs. The beat becomes more dynamic when synths fill up the air with long striking solos. A wonderfull unusual piece of music. Really, it has to be listened entirety before making up your mind. An intense track. Behaviour is smoother. An atmospheric track with heavy synth pads and a thin sequence line that recall Mr Schulze sensuous line on Body Love. Maze and Mortality are among the best musical titles I have listening this year. On a wondrfull cello sound, Mattie explains the pressure and the fear of being trapped in a Maze. The music is superb and reflects to perfection the anguishes of being trapped in corridors without ends. The music is realistic that we feel we are there, we feel these corridors. The atmosphere is stressing and intriguing as a great musical score. Then everything bursts into crazy and running beats. The drum machine runs like hell on the cello strings that metamorphose itself into a wild violin. The beat goes on with a wonderfull bass and other great synths solos. An amazing piece of music. Mortality is my favourite track on Sense. It’s a long musical corridor with soft tints and softer discrete choirs. The line. Oh…what a wonder. A soft wonderful sequence line (à la Schulze) draws a perfect ambiance that gains gentle rhythms witch progress on vaporous percussions. A great track for every Schulze lovers in us. Déjà vu closed Sense is a title without rhythm which bores on immense synthetic layers and the semi-human semi-droïd voice of Mattie. An intriguing title that would fit perfectly on Bowie’s Low musical adventures. Sense might be different from the usual music of Remy, but it doesn’t mean that it might not be good as good as what we are use too. Not at all. It’s an unusual musical journey, witch I could agree, with intense and very creative parts. I like it a lot. It needs more than one listening, but each time your ears come across this opus, the more you like it. Isn’t not the sign of a great work? Isn’t not the sign of something brilliant?

07.07.2006. Sylvain Lupari / Guts Of Darkness
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Het gaat goed met de Nederlandse elektronische muziek. Recente albums van Ron Boots, Gert Emmens en Free System Projekt zijn hier voorbeelden van. Remy Stroomer is een van de aanstormende talenten. De vijf platen die hij tot op heden heeft gemaakt getuigen van een zekere roots in de traditionele "EM" maar kennen een frisse kijk op deze muzieksoort. Waar de eerdere albums soms nog wat referenties hadden naar het latere werk van Klaus Schulze, heeft hij op Sense voor zijn meest "eigen" aanpak tot op heden gekozen. Het openingsnummer Being is reeds behoorlijk verassend vanwege de sfeervolle pianoklanken en kalme strijkers die dit begeleiden. Destination is iets geheel anders: de liveopname kent een aantal aparte, duistere effecten en stemmen. Op gegeven moment komt er een interessante sequence bij, kalme ritmes en Mellotronkoren. Dit is een sterk stuk muziek. Dezelfde koren bepalen Behaviour, een retronummer met een rustige sequence. In Maze is opnieuw een stem te horen. Deze is van Mattie van Todd In The Nose. De bassequences die vervolgens invallen zijn erg fraai, net als de herhalende klanken van strijkers. Dit heeft iets weg van Klaus Schulze's meesterwerk X. Later komen er drums bij en begint Remy lekker te soleren. Mortality opent met prachtige sferen en ruimtelijke effecten en ontaardt in een ontzettend goed stuk, tevens de meest Berliner Schule-achtige compositie op de CD. Dit loopt over in Deja Vu waarin Mattie wederom te horen is met donkere stem. Zoals bij Remy gebruikelijk is geworden, wordt ook deze CD vergezeld van een "zuster"-CDR. Het kent een lang nummer van meer dan een half uur dat opent met een cello en dat verderop een schitterend traditioneel werk wordt met uitstekende sequences en ritmes. Met Sense bewijst Remy als musicus weer een stuk verder te zijn gegroeid en dat is erg knap.

July 2006. Paul Rijkens / iO-Pages
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You know the feeling; there's a new cd from an EM-artist who has brought out several albums in more or less the same style and you're looking forward to more of the same. This attitude goes more for the listeners than to the artists; they would rather progress in their work, go down unknown roads and search for the limits of their abilities - a situation that applies completely to "Sense", the new release by the electronic musician Remy Stroomer from Haarlem in the Netherlands. It was quickly evident to me that this amiable former Sonology student was proving to be capable of more than the short-sighted comparisons to late-80's Klaus Schulze had suggested - certainly after hearing his previous recording "Different Shades of Dust" and the accompanying bonus disc "A-live". Stroomer currently lives near a huge aluminium smelting complex and one wonders if this industrial environment has inspired a new experimentation.
Vocals, dark ambient, strong cinematic themes, abstract rhythms (with influences from the direction of Drum 'n Bass and intelligent Techno), Mellotron choirs; all show a total change in artistic direction. "Sense" is a challenging reflection that, in six tracks of varying lengths, reveals the new Remy. Only now and then does a recognisable element pass by: "Mortality" is the most direct link to his previous work. In the opener "Being" he creates an atmosphere that touches the serenity of Steve Roach with the slow piano chords used by Craig Armstrong, Brian Eno or even in the style of U2's intro-section to "Zooropa". "Destination" was recorded live and introduces Mattie (Todd the Nose) on vocals; these are combined for the first few minutes with wonderfully daring 'saw-like' effects. Easy listening it isn't, but after about eight minutes the sequencers kick in - inviting you to turn the volume up. The Novation solo here is also thoroughly enjoyable. Track 3 "Behaviour" sounds like a monotone intermezzo, but does lead into the key piece on the cd, "Maze". This time Mattie's vocals appear in the form of a monologue with threatening cello lines underneath and a most effective percussion ending. To be honest, it is a bit like the 90's Wahnfried-style - although Stroomer would probably not quickly admit to it ("I think that by now all of the Klaus Schulze influences have disappeared from my music," he admitted in a recent conversation with me).
Closing track "Déjà vu" takes the listener back to the vocals of "Destination" with deliciously delicate synth-sounds in the last section. End of the trip.
I'll say it again; this is Remy's most ambitious album to date. The daring, and moreover the conviction, with which these pieces have been made turn "Sense" into one of the big surprises of the year. This cd will cost him a few faithful fans, but Remy has considerably expanded his musical horizons on this disc, with terrific results.

June 2006. Wouter Bessels / E-Dition Magazine #13
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I have received this week its new CD "Sense", I am listening at this moment, my congratulations, is FANTASTIC!
I have already taken note, for the next edition of recopilation we will include a subject of Remy :)

04.06.2006. Roberto Vales / Ultima Fronteira
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wonderful music thank you for this !!!! specialy the vocal- tracks . in german can i say
geil !!!! ;-) . the promo cd also!!

31.05.2006. Norbert (Germany)
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