Composed, played and produced by Remy Stroomer.
'Moving Through Dust' co-produced by Ewout Koek.
Recorded from 13 June - 24 August 2004 at AKH Studios, Haarlem.
Digitally Mastered by Ron Boots.

Contrary to Schulze, Remy doesn’t waste time and initiates a superb sequence with exiguous chords, forming an out of time echo. A fine bass line is moulding to this movement which takes volume on a light shimmering synth. Cleverly, the Dutch synthesist plays with his structure, modifying its curve by beautiful modular nuances which are harmonized on changes of tonalities and chords, in the shade of a discrete synth which is establish more and more. Percussions are coming, modifying the rhythmical sensuality by strikes dry and heavy, on staccato arpeggios which coil up on striking and resounding percussions. A superb piece, beyond the good moments of Klaus Schulze. Quite simply divine.

The intro of Shades in Darkness forms a hard techno movement on flexible synths, with crystalline breaths. The solos are sinuous and roll up around a sequential movement harnessed by sharp percussions. Around the10th minute, the tempo modifies its race on a linear movement, guided by a bass structure and percussions with hypnotic scales. The bass tipples on percussions, clapper’s style, where dark a mellotron covers a flood dense universe of fine solos. The last portion is sublime with its strings layers, on a hypnotic techno beat, which strikes with force and resonance, under a tinted magnetic storm of daring solos.

A slow synthetic walk, with hesitant step, opens Moving through Dust, a title between the opening track and Shades in Darkness. The mellotron choirs cover this soft procession which progresses on a bass sequence to tortuous chords with keys that stretch on unctuous synth, semi groovy semi ambient. An intro full with atmosphere where the tempo is activated and gained in power on a sinuous synth, with gimlet solos, and dry hammering percussions. These solos are penetrating, violent on insane strikes whereas the movement is activated and overflowed on an infernal rhythm. A mad synthetic trip joined by unexpected bitter cello cords. Shades in Darkness calms down on synthetic dust, before spreading an infernal tempo, to join again with the smoothness of a synth to astral sonorities which dies without really wanting to know its end. Klaus Schulze re-examined and corrected? This is what Remy Stroomer seems to offers to us. Different Shades of Dust is more than one copy of Schulze. It is an incredible work which the German Master never dared to offer. Violent rhythms overwhelm on highly corrosive solos which notch our tympanums with a force. A purely electronic album of an incredible vitality which leaves us gaps in front of an irrational musical tornado where the melody is replaced by the audacity. An album to absolutely possess.

20.04.2007. Sylvain Lupari / Guts Of Darkness
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Interessant ist auch die Different Shades Of Dust. Remy´s etwas "düsterer" Stil gefällt mir sehr gut, denn er erinnert mich an Klaus Schulze´s frühere Werke , die meinen Musikgeschmack nun mal vor weit über 20 Jahren geprägt haben ;-) Was aber auf keinen Fall heissen soll: Remy kopiert KS !! Nein, er hat seinen eigenen Stil. Und den hat Remy mit diesen 3 aufeinander folgenden, wirklich sehr guten CDs unterstrichen !! Es lohnt sich also ....

February 2007. Uwe Saße
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At first sight this seems just a maxi single or an EP. A very minimal looking glossy digipack en just 3 tracks. When you have a look at the used instruments, witch classics as the juno106 and the minimoog, the synthlovers among us will be very anxious to hear the sounds packed on the blinking disc.
Why there are only 3 tracks on the CD becomes clear immediatly, there is simply no place for a 4th. 18:25 minutes is the shortest track.
No floorfillers, but nice listeningmusic, it looks that Remy went back to the times where synthesizer greatest compilations flooded the market, and added some 2005 rythmbox like flavours to these 80s synth themes. Completely relaxed with a glass of deep red bourgogne and at slightly higher volume you get the complete depth of this CD. Finally the complexe synthlines get enough breathing space and the effects get enough power to drown you in some long epic productions. Without becominig monotone. Variations and the reuse of the different soundstructures and percussion elements within one and the same tracks are preventing you easily from getting bored.

This is a strong release and the perfecte feed for your ears after a long night with an overdose of beats you got at the local partyplace.

2005. Davitch / Gothtronic
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For everyone who loves old-fashioned electronically music such like Jean Michel Jarre or Kraftwerk, this might be something nice for you. Different shades of dust is the latest full-length album of the Dutch musician Remy.

A cd existing from three songs of averagely twenty minutes of bleeps and are sometimes very much dark dancefloor material. Striking thing about this music is that the long tracks exist from so many different layers that take turns after a while, and are because of the beautiful converts constantly in development. Because of this a song can sound in the beginning completely different than towards the end but still have the same atmosphere. Unfortunately it does become slightly tedious that way because it all lasts just a little too long. Funny is that the three pieces on this album differ so much from each other. Following differences is everything its name says, with small three dimensional steps it smoothly flows over into other shapes. A very airy song, in contradiction to Shades in darkness that comes right behind. With this Remy goes into a direction that sounds a lot like dark electro/industrial, perhaps it might have been quite an invitation to dancing if it would have had a little more speed. Moving through dust at last is a song that in my opinion has some sort of tension that keeps getting bigger but just doesn’t really get through, then it slips away a little and comes back again after which halfway it finally explodes and nicely continues. At that time it’s a fine piece to listen to.

For the time being I will enjoy myself with this cd just fine but I am curious to any future work of Remy.

August 2005. Arthylacia / Gothtronic
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This release from 2004 features 61 minutes of riveting long-form electronic compositions.

Three tracks comprise this release, granting each piece adequate time to churn from tranquillity into powerful structures of epic disposition. Stately sequencing generates a lavish but mounting mood of careful consideration; each newly added layer provides greater depth to the gradually ballooning sense of majesty. Minor e-perc enters the mix, lending a peppiness to the drifting cloud of sincere sonics. This fusion of serious and jocular gives the tuneage an appealing sentiment that is unavoidably infectious. The audience's smile is tempered with the knowledge that momentous passages are in store. These entry chords are wondrous, but they foreshadow harmonics of impending virtue.

Auxiliary riffs rise to prominence, blending with the stirring foundations to create resonance of considerable significance. Patterns diffuse and then coalesce, forming variations that sparkle with exceptional promise as they expand and capture the flow. Melodic stretches unfurl, revealing emotional content that grows more contagious with each passing moment. Gurgling effects embellish the core of this music, enthralling and delightful.

While percussion, often snappily pattering at the sonic peripheries, plays an integral role in this music, the tempos remain tastefully submerged in the bewitching melodies. The electronics wash like a refreshing waterfall, pooling in a grotto that enhances their lingering vibrations with subtle reverberations. The melody of a moment ago becomes seasoned with novel modifications that carry the tune along to more corpulent passages.

A rewarding dose of Berlin School EM that is fondly tempered with modern attitudes.

2005. Matt Howarth / Sonic Curiosity
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Young composer Remy Stroomer from the Netherlands admires Klaus Schulze and that can be heard in “Following Differences”, the first track. He chooses the same repeat in tones as Schulze does. His playing and use of rhythms is fine and make this track stand out. “Shades in Darkness” is a combination of older 80s Schulze and more modern rhythms. It’s shame that he chooses clichéd dance tunes to end the track. Despite the fullness of sounds “Moving Through Dust” excites and really rocks half way. Stroomer captures the emotion with fine, almost ear splitting solos like Schulze did on his mini. Before the finale, which is a reprise of earlier material, we can hear fine sequencing. Stroomer uses a whole battery of analog and digital synths and the sounds he comes up with mostly combine very well. Although not a stunning discovery in synth land, it certainly will give the listener an hour of pleasure.

2005. Roel Steverink / Exposé
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Vijfentwintigjare Nederlander studeerde ooit sonologie, maar kon daar zijn ding niet kwijt en ging verder op eigen benen. Dat ding is een nieuwe versie van de Duitse synthesizermuziek uit de jaren zeventig, en dan zo perfect gedaan, qua sfeer, dat het gewoon eng is. Remy wordt in verband gebracht met Klaus Schultze, meester van de elektronische zandstorm, maar wij hoorden nog veel meer vroege Tangerine Dream, zeg maar de periode van Atem, Zeit en Phaedra, en het live-album Ricochet. En de ambientgolf van rond 1990, die ook. Drie nummers slechts telt deze plaat. Extreem uitgesponnen soundscapes met toch wel iets van een beat, die dan meest gedragen wordt door wat we vroeger een sequencer noemden, of door rudimentaire drummachines. Alles zeer zorgvuldig in elkaar gezet. Shades In Darkness heeft ook wel iets weg van oude Kraftwerk, tot de elektronische koortje invallen en we weer helemaal thuis zijn. In Moving Through Dust laat hij zich verleiden tot een echte technobeat, maar dan weer zo opgetuigd dat die goed aansluit bij de rest. Dit is volwassen moderne elektronische muziek van dit moment, zonder verloochening van de wortels in het verleden.

26.01.2005. Enno de Witt / Plato Mania #199
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In recente jaren heeft de Nederlandse elektronische musicus Remy Stroomer een behoorlijke naam opgebouwd met zijn platen The Art Of Imagination (zie iO 30), Connected en Disconnected (zie iO 49). De muziek die Remy maakt op zijn platen kan beschouwd worden als Berlijnse School/Retro maar het speciale is dat, hoewel hij zeker geïnspireerd is door iemand als Klaus Schulze, hij niet (zoals zovelen) Schulze's muziek uit de tweede helft van de jaren '70 als belangrijkste bron neemt maar meer de latere jaren. Op Different Shades Of Dust doet Remy dit weer maar voegt hij ook meer en meer eigen ideeën en vindingrijkheid aan de muziek toe. Deze CD kent drie lange tracks van ongeveer 20 minuten. Het eerste nummer Following Differences opent met een geweldige sequence waarna Remy zacht begint te soleren en rustige ritmes invallen. De muziek is vol van variaties en sfeer. Effecten op de VCS3 synthesizer (bekend van Pink Floyd's On The Run) introduceren Shades In Darkness. Sterke sequences, leuke ritmes en bassen alsmede enkele prima solo's nemen het vervolgens over. Opnieuw een uitstekende sequence opent Moving Through Dust. De sfeer in dit stuk wordt langzaam opgebouwd naar een grootse finale waarin alle ingrediënten van Remy's muziek samen weten te komen. Met Different Shades Of Dust bewijst Remy opnieuw dat hij capabel is om muziek te produceren die de "best of both worlds" bij elkaar brengt, namelijk de "Gouden jaren van de elektronische muziek" uit de tweede helft van de jaren '70 alsmede moderne tijden. Dit is muziek die het verdient om naar geluisterd te worden.

21.01.2005. Paul Rijkens / iO-Pages #56
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Different Shades of Dust is a superb effort, featuring three strong Electronic Music tracks, brimming with sequences, intricate structures and wonderful screaming solos. The first track, "Following Differences" throws away the tradition of atmospheric intros by getting straight into business with one of the best sequences I've ever heard. It's urgent and dramatic - very effective, indeed. After a while it is joined by additional tones, making up a complex rhythmic tapestry of sound that really calls those best moments of late 80's / early 90's Klaus Schulze to mind. Very tasty! Great key changes as well. Really, if Schulze from the said period is your thing, you will enjoy this one. In the second part some Mellotron choir is applied to great effect as well as dramatic string / pad chords. This is one epic track. The second track, called "Shades In Darkness", starts with VCS3 effects, as well as broken rhythms and distant mysterious Mellotron choirs. Then a resonating bass line introduces itself which is joined by another one and we really start to motor along. This track, as well as the last one features great analog solos. Although Remy doesn't use the mighty Mini, he's got a Memorymoog, which is essentially six Minimoogs stacked together, so the solos sound smooth and at the same time biting - great timbre. This might be different synth of course, but the sound is very Moog-like any ways. Mellotron choir returns after the 9-minute mark. New sequences are introduced that are soon joined by drums, bass lines and cosmic solos that this time somehow remind me on the ones played by Klaus Schulze in the 70's on his ARP Odyssey. Excellent sound, I could listen to this for ages. Dramatic string arrangements are another focus of this track (including the well-structured pizzicato string runs). Most of the time there's really a lot going on, Remy's music is very intense! Intense is also the word that could be applied to the appropriately titled and very evocative "Moving Through Dust", with its Arabic moves, Mellotron choirs, great sequences and absolutely over-the-top, screaming' n 'roaring Moog solos. Yeah, twist that filter! Different Shades of Dust is an excellent album of edgy, progressive (and decidedly un-commercial) Electronic Music that I enjoyed immensely. Remy is certainly a musician to look out for, and being that he is till very young, I guess we can expect a lot of great music from him in the future.

14.01.2005. Artemi Pugachov / Encyclopedia of Electronic Music
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Remy has a very personal style. His music joins elements from Synth-Pop, Sequencer Berlin School style of electronic music, Trance, Ambient, and some Techno touches. The three long pieces that integrate "Different shades of dust" are overflown with dynamism, a strong rhythm, and occasionally,
also romanticism and passion. The whole album has a deep cybernetic air, not only due to the use of synthesizers, but also because of the style of the compositions itself.

9.12.2004. Pasual Jurado / Amazing Sounds
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OK, not the most inspiring of titles for an album, the dull slipcard casing and artwork also purveying a sense of doom and gloom even before the disc hits the CD player, but you never know. I am hoping for great things from this, an artist whose work l have only ever heard once before, and as such cannot profess to be that familiar with. 'Following Differences' opens the ball.
Listening to the CD l soon I find that l have stopped writing the review, the music commanding my attention. I hear real invention and imagination at work here. From its simplistic beginnings the track rapidly evolves into something very deep and complex, projecting a sense of pace and urgency. I check the time on the CD player only to find that l have been completely transfixed for the first ten minutes of the piece listening to a steady build up of sequences interacting with one another in such a way that you just know this guy knows exactly what he's doing. I have to admit that this sounds like the music of a real composer whose contemplation of the piece allows him to steer it effortlessly to wherever he chooses to go next.
The arbitory Mellotron strings make their presence felt at the twelve minute mark,( Tron choirs following along shortly).
This is a truly superb piece of electronica with all the weight, mood and suggestion of a classic! He lends a feel to the music that l can only describe as that human element, something that very few electronic synth artistes seem to be able to convey. At 18+ minutes this is an extended piece, but that is not to say that it has been protracted in any way. There are no elaborate solos, no extended improvisations, just musicality. There is nothing in this piece that really doesn't need to be there for a purpose. Remy has been likened to Schulze's late 80's/90's work, but to hear the closing minutes of this first track as it winds down you'll soon come to realise that even Schulze never managed to bring things together this well!! Devastatingly brilliant stuff right to the very last note!!
Track two, 'Shades in the Darkness' and, oh no, the mood is broken immediately with a contempory drum pattern and resonant bass, sounding mildly like early 80's fusion. There are still many synth layers at work here cycling around, when at the halfway mark a more aggressive, busier bass kicks in, but it's predominantly the drums which rule the day.
'Moving through Dust' is the third and final instalment on the CD. With a quirky start this 21 minuter, with it's very obvious Schulzian leanings and simple A/B/A structure, rattles through variations on a theme. Gradually it builds, with a peppering of counter-point riding high on the musical agenda. A distorted synth solo kicks in and we are carried along on a 10 minute break of heady space rock. The piece continues into its conclusion breaking down the layers of instrumentation, leaving us with Mellotron choir to wrap things up.
The verdict - Remy has been referred to merely as a Schulze copyist and in all fairness 2/3rds of this album are testament to that fact. However, I think there's something more here. Most certainly the first track alone is reason enough to rush out and buy the album, but l'm not here to do the big sell. Remy Stroomer has a very fluid and natural feel to his compositional style. I hear a subtle beauty and humanity in Remy's music, something l've only ever come across before in the work of Johannes Schmoelling and Nicholas Dodd. Though a better part of this album pounds along in a metronomic manner it is Remy's careful keyboard interplay which shines through. I've been impressed by this album, of that there's no doubt. Have we heard the best from this synthesist yet, l think not.

9.12.2004. BLUE22 / Synth Music Direct
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De nieuwste cd van Remy bestaat uit 3 tracks.

-Following differences (18:25)

deze track opent meteen met een up-tempo sequens die lekker in het gehoor ligt.
Hier overheen soleert Remy op een beheerste manier die nergens te opdringerig wordt.
Er zitten goeie wendingen in de ritme sectie om de aandacht vast te houden. Je kunt nog wel steeds horen dat Remy beinvloedt is door Klaus Schulze, maar met genoeg eigen inbreng om interessant te zijn.

-Shades in darkness (21:06)

"Klassieke blieps" en effecten openen deze track waarna vrij vlot een lekker vlotte sequens inzet. Een minimale begeleiding ligt hier overheen terwijl op de achtergrond de bliepjes en abstracte geluiden het geluidsbeeld goed opvullen en aanvullen. De solopartijen komen ook hier goed uit de verf. Ook hier is genoeg variatie in ritme en solo's om de aandacht goed vast te houden. Ik kon mijn voeten niet stil houden bij deze track.

-Moving through dust (21:21)

Dit nummer opent met een rustige sequens en daar overheen mooie Mellotron achtige koren.
Na zo'n 6:30 minuten wordt het iets steviger in ritme en met name solo. Ik ben persoonlijk niet zo'n fan van die zg. "snerpende" solo's, dus had ik hier wat meer moeite mee. Na ruim 9 minuten wordt de boel nog opzwepender zowel wat ritme als solo betreft (ik moest een beetje denken aan KS tijdens een MiniMoog solo).
Alledrie de tracks hebben een duidelijk begin, middenstuk en (mooi) een einde.
Ik vind dit album van remy een stuk beter als zijn voorgangers Connected en Disconnected.
We kunnen in de toekomst (hoop ik) nog veel van remy verwachten.

Als je Remy afgelopen E-Live bezig hebt gezien zul je met me eens zijn dat hij zijn instrumenten goed beheerst. Het was interessant om hem bezig te zien. Hij ging helemaal op in wat hij deed, en de reacties van het aanwezige publiek tijdens zijn sets was overwegend positief.

October 2004 . Ton Kok / Alfa Centauri Magazine
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Der Niederländer Remy Stroomer firmiert für seine CD-Produktionen, die aus klassischer Elektronikmusik im Stile der "Berliner Schule" bestehen und die mit modernen Elementen versehen sind, nur mit seinem Vornamen. "Different Shades Of Dust" ist das mittlerweile dritte Album, das er veröffentlicht.

Lediglich drei Titel befinden sich auf der CD, die im schlichten Digipack erscheint. Track eins bringt es auf über 18 Minuten und die beiden anderen sogar auf über 21 Minuten Spielzeit. Mit "Following Differences" ist für meinen Geschmack auch gleich der Hammer an den Anfang gesetzt worden. Der Hörer wird gleich mit herrlichen Sequenzen und Melodielinien á la Klaus Schulze (Endsiebziger bzw. Anfang der 80'er Stil) empfangen. Doch was den Titel so unwiderstehlich macht, sind der Rhythmus und der Klang, damit geht der Opener sofort ins Elektronikerblut. Über die gesamte Laufzeit entwickelt sich der Song und bietet immer wieder neue Klangpassagen und Rhythmen, so dass Remy auch gut drei Stücke aus ihm hätte machen können. Der Track klingt aber nicht wie eine Aneinanderreihung von Songs sondern ist in sich geschlossen und homogen gehalten. Dieser Song ist eindeutig mein Favorit auf dieser CD.

Track zwei "Shades In Darkness" kann meines Erachtens den Standard des ersten Tracks nicht halten. Mit Synthiegeflackere beginnt der Track und startet dann in einem Kraftwerk-Rhythmus mit an die Düsseldorfer Elektroniklegende erinnernde Melodie. Das verspricht einiges. Leider machen - vor allem in der ersten Hälfte - Melodie, Rhythmus und Sound auf mich eher einen unfertigen und mit Sounds überfrachteten Eindruck. Hier wäre weniger mehr gewesen. Im zweiten Teil wird es dann wesentlich besser, denn hier beweist Remy, dass er tolle Sequenzen programmieren kann, deren Rhythmus er auch schon mal in Richtung Techno/Trance schweifen lässt. Darüber hat er wieder sehr schöne Synthieakkorde gesetzt.

Den dritten und letzten Track "Moving Through Dust" hat Remy dann wieder im Stile von Schulze & Co. gehalten. Mit sanften Keyboardflächen beginnend, entwickelt sich dieses Stück ebenfalls wieder langsam aber stetig. Nach gut vier Minuten blitzen die ersten härteren Rhythmen im Hintergrund auf, auch Gitarrensamples sind im Verlauf zu hören. Immer rhythmischer wird es bis fast zum Ende hin, denn kurz vor Schluss holt uns Remy wieder mit sanfteren, ruhigeren Klängen runter, so dass sich der Puls - durch den härteren Rhythmus in die Höhe geschnellt - wieder im normalen Bereich befindet.

Remy ist mit "Different Shades Of Dust" ein gutes Album gelungen, das durch seine Mixtur aus "Berliner Schule", modernen Klängen und Rhythmen sowie eigener Ideen besticht.

October 2004. Stephan Schelle
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Remy continues to nail Klaus Schulze's sound with amazing accuracy, stretching and growing into his own as he goes. Less than a minute into the 18-½ minute "Following Differences," and I am fully drawn in yet again to a thoroughly entrancing Remy journey. Fast-paced rhythm and sequencing belie
the relatively laid back nature here. Defying easy pigeonholing into a specific Schulze period, this is equal parts En=Trance and 21st century offerings such as either Contemporary Works collection. Crisp full drums, beauteous strings, playful synth lead lines that are never overdone, they all combine to perfection here. The 21-minute "Shades In Darkness" shifts into a modern dance beat, with shimmering high synths and warbly electronic sound effects. Schulze's Are You Sequenced? comes to mind, but really this is Remy reaching into his own bag of tricks. An electric piano lead skitters about again quite reminiscent of En=Trance, but there are many more flavors than this. Brilliantly done as it builds to a crescendo then stops abruptly.
"Moving Through Dust" doesn't skimp on the quality or quantity either. Every synth sounds fresh and exciting even though it all seems familiar as well, right down to the haunting choirs. This one really cooks, gaining momentum at every turn until it seems that it can't go on. It teases you by going slack for a couple minutes, but then it's off to the races again for a blistering finish. You'll be spent and happy by the end, if not sooner.

2004. Phil Derby / Electroambient Space
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Another great release is the new album by Remy.
I did the mastering on this one together with him and it's become a great album with the title "Different shades of dust".
With a nice wink to Klaus Schulze, Remy manages to get a sound of his own more and more.
In the 3 long tracks rhythms are tighter and the sequencing is at times superb, creating a great Berlin atmosphere. This is truly a jump forward. In sound too... it sounds crisp and clear with firm basses and great use of effect sounds.

25.09.2004. Ron Boots / Groove Unlimited
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In recent years, Dutch electronic musician Remy Stroomer has made quite a name with his albums "The Art Of Imagination", "Connected" and Disconnected". The music Remy created on his records can be regarded as "Berlin School/Retro" but the special thing about it is that he is certainly inspired by somebody like Klaus Schulze but, like many others, doesn't take Schulze's music from the second half of the seventies as main source but takes the later years. On "Different Shades Of Dust" Remy does this again but also again adds some more of his own ideas and ingenuity into the music.

"Different Shades Of Dust" has three long tracks of about 20 minutes. The first piece "Following Differences" opens with a great sequence after which Remy starts soloing softly and quiet rhythms enter. The music is full of variations and moods. Effects on the VCS3 synth introduce "Shades In Darkness" after which rhythms, strong sequences and basses as well as some fine solos take over. Again a great sequence opens "Moving Through Dust". The atmosphere in this track is gradually build up to a grand finale where all ingredients of Remy's music come together. And listen to the solo!

With "Different Shades Of Dust" Remy again shows that he capable of producing music that brings together the "best of both worlds", meaning the "Golden years of electronic music" from the second half of the seventies as well as modern times. Music that deserves to be listened to.

2004. Press information
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