Deserted Island Music news May 2026

Deserted Island Music news

May 2026

New releases

Two brand new releases are available now!

We recently had a Bandcamp Listening Party for Edith Alonso's "Momento 0.0" on March 31st, while the album release was April 3rd.

The scheduled live album release of "Yvelines" by REMY and Däcker, on April 10th, was unfortunately cancelled due to poor ticket sales. So there was decided last-minute to replace this show with a live Facebook video concert stream on this same date.
Somewhere this month a revisited video (complemented with additional camera views) from the improvised session will be uploaded to YouTube. To be continued...

Reviews

A bunch of reviews have just been published last month.
Upcoming physical May edition of iO-Pages magazine also includes reviews of Edith Alonso's "Momento 0.0" and REMY & Däcker's "Yvelines".
These will be for next newsletter, as edition #206 has not yet been published.
For now, here are the others:

WET DREAMS
"JMSOLER1967" wrote a review from Edith Alonso - "Momento 0.0" for the Wet Dreams blog.

As the original review is in the Spanish language, I let Google Translate translate it to English. Below you can find the links to the original Spanish review.

Edith Alonso - Momento 0.0

After nearly two decades dedicated to analyzing and dissecting historical works of electronic music—always looking back at what has brought us here—I'm beginning to feel that the time has come to shift my focus slightly.

This isn't entirely new. I've occasionally touched on recent works, but always sporadically, almost as an exception to the usual tone of this blog. However, there's a growing sense that it's also necessary to pay attention to what's happening now, to the works that are shaping the present.

Edith Alonso's suggestion to write about her upcoming work, due out on April 3, 2026, was the final spark I needed. From here, Wet Dreams enters a new phase: without abandoning the past—which remains fundamental—but more decisively incorporating reviews and critiques of contemporary works.

I don't know exactly where this will lead. And perhaps that's for the best.

Let's see what happens.

Cartography of the Interior and the Constructed
There are albums that are listened to and albums that are experienced. Momento 0.0 clearly belongs to the latter. It doesn't offer a collection of pieces, but rather an emotional and spatial topography in which each track functions as a room, a passageway, or a transformation of the environment. Edith Alonso doesn't compose "songs" here: she constructs places.

From the very beginning, with Momento 0.1, the entry is direct, uncompromising, almost abrupt. There is no gentle introduction: the listener is thrown into a sonic space where the percussions appear blurred and the layers seem to fold in on themselves. Everything points inward, toward an introspection that is not calm, but implosive. The interesting thing is that when it seems to open up—when we sense an exterior—what actually emerges is an even larger, yet enclosed, space. There is no escape, only a change of scale.

This confinement becomes more physical in Momento 0.2, where the atmosphere acquires a clearly defined industrial texture. Here, sound isn't just heard: it's breathed. There's density, contamination, an almost tactile sensation of filth. The stereo effects don't decorate, they destabilize; they seem to pass through walls, displacing you without you moving. It's a mental sub-basement where progress means confronting constant discomfort. Even when hints of openness appear—a certain excitement in the stereo movement, like a promise of light—the discourse retreats. There's no way out. And that's not a flaw: it's an aesthetic choice.

The third piece, Momento 0.3, introduces a shift as subtle as it is significant. A bass sequence appears that directly recalls the instrumental Techno-Pop of the early 80s, but not from nostalgia, rather from a conscious reinterpretation. The shifting LFO modulation generates a strange tension: a sustained disquiet within an apparent serenity. When that sequence emerges, inevitably reminiscent of Giorgio Moroder's pulse in Midnight Express, it doesn't feel like a quotation, but rather a cultural echo integrated into the discourse. Here Edith begins to open up the language, to let history in without losing her identity.

With Momento 0.4 comes one of the album's most accomplished moments. The development is measured, almost contemplative, with long, sustained chords and classically resonant bass lines—that "Moog" quality that needs no explanation. What begins as a luminous atmosphere gradually shifts towards more tense areas, culminating in a moment of genuine elevation (that point around 4:22 that functions as an emotional climax, not just a sonic one). Here the piece breathes, expands, and contracts with a naturalness that demonstrates control and compositional maturity. There is no excess, no rush.

In Momento 0.5, the album seems to open itself to the outside world… but not to a friendly one. The initial, almost tribal sequence suggests nature, but it soon becomes clear that it is a disquieting, observed, even hostile nature. The use of stereo here is especially effective: it doesn't surround, it stalks. The voices—more hinted at than explicit—introduce an almost anthropological dimension, as if the listener had entered unfamiliar territory. The feeling of unease never dissipates; on the contrary, it intensifies with each appearance and disappearance of the sequences.

The closing track, Momento 0.6, presents a resolution that is not so much an ending as a transformation. The language becomes more structured, more recognizable: rhythms akin to Techno-Pop, sequences with a clear Berlin influence from the 1970s, but all filtered through a contemporary sensibility. The sense of “civilization” appears not as progress, but as another layer of complexity: skyscrapers, empty streets, latent activity. Even in its most rhythmic moments, the album does not abandon its introspective character. The final nod to sounds reminiscent of the Mediterranean electronic music of four decades ago reinforces this idea of ​​historical continuity within a unique voice.

Global Reading
Momento 0.0 is, in essence, a work about space: physical, mental, and symbolic space. It's an album that avoids easy spectacle and opts for a progressive immersion, where each element—percussion, sequence, texture—serves a broader experience.

Edith Alonso doesn't seek to impress; she seeks to displace the listener. And she succeeds.

This is a work that clearly consolidates her maturity as a synthesizer artist: not because of technical complexity (which is present), but because of her ability to sustain a coherent, personal, and profoundly sensory discourse throughout the entire album. Here, the synthesizer is understood not as a tool, but as a complete expressive medium, capable of constructing entire worlds without the need for external support.

Without exaggeration: one of the most solid and evocative albums in recent exploratory electronic music. One of those that doesn't become exhausted on the first listen and that, over time, reveals new layers.

And that, these days, is not so common.

Personally, this work also takes on a special dimension: in 2022 I had the honor of bringing Edith Alonso to the Morada Sónica International Festival—a festival I organize and direct—and that performance remains one of the most intense sonic experiences I've ever had. Listening to this album now only reinforces that feeling.

THANK YOU EDITH!!!

Read the original review on the Wet Dreams website:

https://stahlfabrik.blogspot.com/2026/03/edith-alonso-momento-00-deserted-island.html

MUSIKZIRKUS-MAGAZIN
Stephan Schelle wrote reviews from Planet of the Arp - "Planet of the Arps 2", REMY - Exhibition of Dreams 25th Anniversary", REMY - "Exhibition of Dreams in progress" and Däcker - "Pareidolia" for his MusikZirkus-Magazin website.

As the original reviews are in the German language, I let Google Translate translate them to English. Below you can find the links to the original German reviews.

Planet of the Arps - Planet of the Arps 2

Remy Stroomer, who releases his electronic music as REMY, has launched another project, Planet Of The Arps. The album's release took twelve years. The story behind the album can be found on the label's website. However, it's so interesting that I'll present it below:

In July 2010, electronic musician Remy Stroomer (aka REMY) recorded the first version of an ambient piece. It became an hour-long journey, reminiscent in some aspects of the composer's solo work, but it was decided to present this project as an ambient side project. It was to be called "Planet of the Arps."

The name refers to the musical phenomenon of the arpeggio (regardless of whether it's generated by an arpeggiator or not), Halton Arp and his Atlas of Peculiar Galaxies, Alan R. Pearlman and his legendary ARP synthesizers, and it's also clearly a nod to the science fiction series "Planet of the Apes."

The pieces on the album were created between August 2012 and March 2024. They were composed by Remy Stroomer and include excerpts from Episode 1 of "Universe – The Cosmology Quest – The Electric Universe and Plasma Physics" (lectured by Halton Arp) and "Planet of the Arps," performed by Remy Stroomer, Roksana Vikaluk (Ukraine), and Wolfram Spyra (Germany).

The tracks on the album were created between August 2012 and March 2024. Once the first version of the piece was recorded, Remy had the idea of ​​involving a musician friend in the project, as he felt it needed an extra touch before its eventual release. When the Ricochet Gathering took place in Berlin in October 2010, Remy asked Wolfram Spyra to contribute to this ambient work. Although "Der Spyra" was eager to work on it, time seemed to be an issue, and, more importantly, both artists had other priorities at the time. The project was put on hold.

When Remy was invited to perform at the Zeiss Planetarium in Bochum, Germany, on September 15, 2012, he decided to perform this particular piece of music, simply because it was a perfect fit for the venue. Some additions and changes were made, and during this solo concert, version 2.0 was created. Almost two years passed before Remy organized a concert on June 27, 2014, in the ruins of Brederode in Santpoort-Zuid, Netherlands. For the lineup, Remy engaged his then-band Free Arts Lab as well as Wolfram Spyra. Towards the end of the evening, the idea arose to create an improvisation around an edited version of "Planet of the Arps." However, this unfolded differently than Remy had envisioned. Due to unforeseen circumstances, there was no time to rehearse the session, and shortly before the show, it was decided that Spyra's partner and singer, Roksana Vikaluk, would join in. The result was a 20-minute live version of "Planet of the Arps" performed in a completely improvised setting. Both musically and atmospherically, everything seemed to fall into place perfectly.

Towards the end of the evening, the idea arose to create an improvisation around an edited version of "Planet of the Arps." After that, it took another while—more than four years—before the decision was made to release "Planet of the Arps" in its current form: the original piece, remixed and supplemented with elements from the live performances. Let's consider it a project that needed this time to develop and lead to the version heard on this "Planet of the Arps." "Planet of the Arps 2" premiered on June 21, 2025, at the Brussels Planetarium during a one-off event alongside album presentations by Rhea (Mark de Wit) and Synquentium (Peter Dekker).

The album opens with the more than twelve-minute-long "Intrinsic Redshift." Here, the synthesizers rattle and chirp very roughly from the speakers in a stereo effect from left to right and back again. This mood is maintained unchanged for a good three minutes until more synthesizer sounds slowly emerge, initially a hiss, but then taking on a spacey character through ambient textures. Further sounds and speech samples appear. In my mind's eye, I see some images from the beginning of the film "2001: A Space Odyssey," where the monolith is visible. Remy creates a mystical atmosphere here, which also feels somewhat menacing.

This is followed seamlessly by the eleven-and-a-half-minute "Palomar Observatory." It begins with ambient, spacey sounds. This gentle atmosphere is only interrupted by rhythmic elements emerging in the background. It has a high degree of tension and then, from the halfway point, gains somewhat more forceful rhythmic elements and harmonies. Now it also moves in the direction of atmospheric soundtracks by John Carpenter. The piece meanders in this way until its end, before seamlessly transitioning into the next piece.
This is the nine-minute track "Fight For Telescope Time." Here, the synthesizers begin to chug along, blending with unusual sounds that resemble distorted or reversed vocal samples. Then, a powerful, pulsating rhythm kicks in. This driving rhythm, which almost veers into industrial territory, dominates the piece. It really packs a punch.

Next up is the eleven-minute "Atlas Of Perculiar Galaxies." Here, Remy has incorporated very modern sounds. The track's driving rhythm sequence and the fantastic, rich synthesizer sounds that create a melodic line make it instantly catchy and captivating. After four minutes, more synthesizer voices enter, adding further harmonic and melodic elements. The track gains increasing dynamism and drive, and for me, it's the highlight of the album.

The album concludes with the ten-minute "Max Planck Institute For Astrophysics." Here, the pace slows down again, which reinforces the spacey feel. This is further enhanced by the use of strings.

The album Planets Of The Arps “2” is a very diverse and spacey album. Alongside some rather quiet passages, the percussive track “Atlas Of Perculiar Galaxies” stands out in particular and is, for me, the highlight.

Read the original review on the MusikZirkus-Magazin website:

https://www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/planet_of_the_arps_2.htm

REMY - Exhibition of Dreams 25th Anniversary

Remy Stoomer, who has been releasing electronic music under his first name since 1999, is well-known to fans of electronic music. He has released music solo and in numerous collaborations, and has also performed live. In addition, he owns the Deserted Island Music label. In 1999, his debut album, "Exhibition of Dreams," was released as a limited edition double CD-R. Ten years later, the album was re-released in a remastered version. The year 2025 marked the 25th anniversary of Remy's debut album, "Exhibition of Dreams," which he took as an opportunity to re-release it.

Here's some information from Remy about the album:

In the summer of 1999, I moved all my equipment to the attic of my friend Ewout's house. At the beginning of the year, I had selected tracks that had been created in the previous two years and would likely appear on the final version of my debut album, "Exhibition of Dreams." The basis of the tracks was recorded on my trusty old Atari computer. Since the original recordings were made on MiniDisc, without the possibility of dubbing or post-production editing, all the tracks had to be recorded in a single take. During the two weeks of recording sessions, quite a few different takes of the same tracks were recorded, from which the best recordings were selected for the album.

In December 1999, the final double-CD-R version of "Exhibition of Dreams" was distributed in a limited edition through several music stores in the Netherlands. After selling the album to my family and a few enthusiastic friends, one copy ended up with the Dutch electronic music label and mail-order company Groove Unlimited, which released my first official CD, "The Art of Imagination," almost a year later. As a result, it was decided not to continue production of "Exhibition of Dreams."

Ten years later, the original 1999 recordings were completely remastered, and an official, factory-pressed double CD of "Exhibition of Dreams" was finally available to a wider audience.

To showcase the developments of the past decade, I also recorded newly arranged versions of a selection of tracks from "Exhibition of Dreams" and released them as "EoD" (later renamed "Exhibition of Dreams Revisited").

Although "Exhibition of Dreams" celebrated its 25th anniversary in 2024, it was decided not to release another remix, limited edition, or anything similar, but rather to let you experience the music from the 2009 remix as it was intended to sound. The previous 10th-anniversary packaging was custom-designed and is now sold out. The same is true for the limited editions released for the 20th anniversary. For the remaining CDs, it was decided to produce this packaging.

The artwork for this release has been reworked and is based on the original images. To complete the package, a 20th-anniversary art book has been included. It contains background information, stories, and photos, offering a comprehensive overview of this highly regarded electronic music album.

The two CDs are now packaged in a six-page paper sleeve. In addition, a 20-page booklet has been added, containing extensive background information and numerous photos. The recordings are identical to the remastered 2009 version, which—if I'm interpreting it correctly—was also released in 2019. It was therefore reissued in 2025.

Since there is no difference to the 2009 material, here is an excerpt from my review at the time, which still holds true:

Without going into detail about the individual tracks, it's worth noting that they are very closely associated with the "Berlin School" and, in particular, the work of Klaus Schulze. That Klaus Schulze is Remy's influence is undeniable; it practically oozes from every note and every sound, which is not meant negatively at all.

In each piece, Remy's approach is consistently melodic and harmonious, creating a very pleasant atmosphere. In addition to the newly recorded and remastered versions, a limited edition CD (75 copies) with bonus tracks from the recording session will also be released.

Fans of the "Berlin School" or Klaus Schulze's music will be in their element, as it truly sounds as if the great master himself had played the keys.

Read the original review on the MusikZirkus-Magazin website: 

https://www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/remy_exhibition_of_dreams_remastered.htm

REMY - Exhibition of Dreams in progress

In addition to the 2009 version of Remy Stroomer's "Exhibition Of Dreams," there's also a limited edition CD (only 50 copies available) titled "Exhibition Of Dreams In Progress." It contains five tracks from the creation process of Remy's debut album, "Exhibition Of Dreams," which—as far as I can tell—have never been released on CD before. The CD comes in a cardboard sleeve and includes the same 20-page booklet that's included with the new edition of "Exhibition Of Dreams."

The CD features five tracks. It begins with a twelve-minute album edit of the track "Into The Dream." The opening is quite loud and distorted. It's a slightly different, less voluminous beginning than the album version. Different rhythms are also introduced, making the track distinctly different from the album version.

The following three tracks were recorded at Remy's concert on November 13, 1998, at the MEM event. The tracks "Into The Dream," "Lost Forces," and "Silent Voices" are very close to the studio versions and differ only slightly in length from the album versions.

The CD also includes a live recording of "Mirage," recorded on February 17, 1999, at a concert during the Mendel Talent Show. This recording is also very close to the album version, but a good three minutes shorter.

"Exhibition Of Dreams In Progress" by Remy is a beautiful, limited-edition CD, but in my opinion, it's really only for fans of Remy's music, as it doesn't offer much new material beyond the album edit of "Into The Dream," which differs significantly from the album version.

Read the original review on the MusikZirkus-Magazin website: 

https://www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/remy_exhibition_of_dreams_remastered_in_progress.htm

Däcker - Pareidolia

Although the Dutchman Peter Dekker has been releasing music independently since the early 1990s, his first official CD album, "Pareidolia," wasn't released until 2020 by Deserted Island Music. The foundation for this album was recorded as an improvisation in 2018. With this album, Peter won first prize in the "Discovery of the Year 2020" category at the German Schallwelle Awards.

Pareidolia is the tendency to mistakenly perceive a stimulus as a familiar object, pattern, or meaning, for example, seeing shapes in clouds, recognizing faces in inanimate objects or abstract patterns, or hearing hidden messages in music.

The foundation for the music on this album was improvised, composed, and recorded by Peter Dekker on a beautiful Sunday in August 2018. Preparing the first track initially took up most of the afternoon. After recording this track, Peter's creative energy remained high, and throughout the evening, the other pieces were spontaneously composed and recorded.

The CD was released in a four-page paper sleeve. The five tracks on the album are largely based on images taken by NASA of the Martian surface. The most famous of these is undoubtedly the Face on Mars, to which Mark Dwane also dedicated his album "The Monuments of Mars."

The first track, "Female Figure" (24:25 minutes), is dedicated to a formation that resembles a female figure. Mysterious, distorted sounds lead into this long track. The shimmering sound sculptures initially give it a somewhat experimental feel. And yet, harmonies peek out from within these sounds. Then, after about two minutes, brighter textures emerge, creating a blurred image like a mirage. This phase then transforms after a few moments into a broad, almost organ-like, monumental sound. After more than ten minutes, a sequencer rhythm emerges, transforming the piece into an irresistible section. It's both pulsating and expansive. Däcker then adds a melodic line. Here, the influence of the "Berlin School" and the "Eindhoven School" becomes apparent.

The more than 13-minute piece "The Elephant" is dedicated to an outline on the Martian surface that resembles an elephant's head. It begins with a simple melodic sequence, as if played on a kind of vibraphone (with an Indian flair). Then a gentle melody emerges. After a few moments, droning sounds are added, giving the piece more volume. The track is defined by this melodic line, which develops over time.

The basis for the almost five-minute "Mercury Man" is a recording made of what appears to be a reclining body on Mercury. The piece begins expansively and then glides into a gentle melody, which after a few moments is complemented by shimmering sounds.

The more than 15-minute track "Face On Mars" begins with a rumble of thunder. Then, expansive soundscapes unfold, revealing a slowly developing melody. The track floats along for the first few minutes until, after about five minutes, a driving rhythm kicks in. Here, Däcker has layered several textures. Thunder rumbles repeatedly punctuate this sonic landscape. After about eight minutes, another driving sequencer rhythm emerges, and Däcker adds the hissing sounds of synthesizers. In this piece, Däcker fully embraces his powerful brand of electronic music. The dynamic range even leans slightly towards darkwave.

The track concludes with the five-minute "The Dragon," which opens with echoing sounds reminiscent of wind. These windy tones are then blended with a melodic line.

"Pareidolia" by Däcker, aka Peter Dekker, is a spacey work based on NASA images, from which one can interpret shapes, bodies, or faces. This has already led to plenty of speculation. Musically, these phenomena have been well translated by Däcker. Fans of spacey electronic music will find plenty to enjoy here.

Read the original review on the MusikZirkus-Magazin website: 

https://www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/daecker_pareidolia.htm

Synthfest Nantes

SynthFest France 2026 took place on 17, 18 and 19 April 2026 at Centre de Congrès de la Fleuriaye, Carquefou.

It was a pleasure to visit this wonderful (and perfectly organized) festival for the first time.
I went there together with Peter Dekker and good friend Niek, and we definitely had a great time here and met some friends and other wonderful people. And not in the last place: there also was a lot of gear.
Absolutely worth going again in future.

One of the purposes of our visit was to hand over Michel Geiss his physical copy of "Yvelines", for which he did the audio mastering.

Rhea farewell concert

Although not directly connected with Deserted Island Music, I would like to mention the farewell concert of Belgian musician and friend Mark de Wit, aka Rhea.

Last year I organized the concert evening at the Brussels Planetarium together with Mark (and also Peter), and you can also get his latest album from our webshop, soI think it's definitely worth to mention this final gig!

"Le Synthonisateur"

On the unique location of the Cellarium of the Sint-Pietersabdij, Sint-Pietersplein, Ghent, on Friday, May 8th, 2026.

Doors open: 19:30
Dark Ambient by Gert de Meester (B)
20:00 Rhea (B) with guest Alain Kinet

Tickets

Pre-sales: €17
At door: €20

Reserve your tickets via e-mail

Naar de Knoppen!

Save the date! On May 17, 2026, there will be hosted a free spring electronic music festival at a beautiful and nostalgic location: Fort Maarssenveen.

With great music, tasty snacks, delicious drinks, and lots of fun!

Here's the full lineup for the third edition of Naar de Knoppen!

Tectonia

Utrax Rejax

Jungle of Wires

Basic Principles

The Soulmade System

[Moosdohmen] X Pressanykey

Naar de Knoppen!
May 17, from 12:00 to 19:00.
Fort Maarssenveen
Herenweg 3, Maarssen
FREE ADMISSION

https://www.instagram.com/naar_de_knoppen

Schallwende Grillfest

I will be doing a solo performance at the Schallwende Grillfest on July 4th.

My previous and only performance so far on this event was on 16-8-2008. At that time organized by Schallwende initiator Sylvia Sommerfeld, and located at the Grugapark in Essen.

Since a couple of years the location has been moved to an old barn.

Complete line-up:

Bridge to Imla (Michael Brückner, Hans-Dieter Schmidt)

Volker Lankow

Remy Stroomer

Programme (approximate times):
15.30 Annual General Meeting of the association
16:00 Start
16:15-17:15 Concert 1
17:45-18:45 Concert 2
19:15-20:00 Session 

Location:

"The Old Barn", Oestricher Landwehr 12, 59227 Ahlen, Germany

Tickets and details:

https://schallwen.de/news/Termine.html#aktuell

Upcoming events

Airplay

Availibility on digital platforms

All Deserted Island Music and REMY album releases are also available on Spotify, iTunes, and many other platforms.

Please keep in mind purchasing cd's and downloads of albums from our website and Bandcamp is the best way to support the artists.

Free album sampler

The latest Deserted Island Music label sampler is available from our webshop and Bandcamp.

Previous "Past - Present - Future" compilation isn't actual anymore, as this was released in 2021, for the tenth anniversary of Deserted Island Music.
For the largest part, the new sampler contains similar tracks from older releases, but some have been replaced, as well as the compilation has been complemented with brand new tracks from upcoming exciting new album releases.

So, here it is, resumed:

To highlight our label, and to get you acquainted with the music we have to offer, there is a compilation download album available from our webshop:

Deserted Island Music 2011 >>> 2024 >>>

And… it is completely free!

Almost two and a half hours of some complete outtakes from our label’s releases, to give you the best listening experience possible.
Supplemented with some yet unreleased tracks for scheduled album releases.

Featuring electronic music by REMY, Mäläskä, Space Art, Planet of the Arps, Däcker, Feralia Planitia, Basic Principles, Synquentium and Martijn Comes.

Recent releases

Däcker & Skoulaman - Saudade (DIM-023)
CD | digital download
A brand new collaboration between two established musicians of improvised electronic music.
This dynamic journey combines the melancholic story-telling and constructive progressions by Däcker (Peter Dekker) and driving sequencing and layering by Skoulaman (Hans van Kroonenburg).
https://www.desertedislandmusic.nl/product/dacker-skoulaman-saudade/

Martijn Comes - Frixtis (DIM-022)
Comic + CD | digital download
A multimedia project combining a well written scifi comic and bizarre electronic soundscapes to take the reader / listener quite literally to another world.
https://www.desertedislandmusic.nl/product/martijn-comes-frixtis/

REMY - Exhibition of Dreams 25th Anniversary (DIM-021)
2-CD + artbook | limited CD + artbook | digital download
25th Anniversary edition of REMY's classic debut from 1999, including 20 pages artbook.
https://www.desertedislandmusic.nl/product/remy-exhibition-of-dreams-25th-anniversary/
Also available is the limited edition "In Progress" CD, containing unreleased studio and live tracks from the album's recording era.
https://www.desertedislandmusic.nl/product/remy-exhibition-of-dreams-in-progress/

Synquentium - Immersion in Total Emptiness (DIM-020)
CD | digital download
Ambient project by Peter Dekker, aka Däcker. An personal and emotional journey trough time and space.
https://www.desertedislandmusic.nl/product/synquentium-immersion-in-total-emptiness/

Planet of the Arps - Planet of the Arps 2 (DIM-019)
CD | digital download
The second chapter op Remy Stroomer's ambient side project. Premiered at the Brussels Planetarium and dedicated to Halton Arp.
https://www.desertedislandmusic.nl/product/planet-of-the-arps-2/

REMY & Däcker - Live at BYSS (DIM-018)
CD | digital download
During the 2020 lockdown, Remy Stroomer (REMY) and Peter Dekker (Däcker) premiered their collaboration at Bas Broekhuis' BYSS studio. This album contains the registration of their improvised concert.
https://www.desertedislandmusic.nl/product/remy-dacker-live-at-byss/

Däcker - Anthropomorphic Personification (DIM-017)
CD | digital download
Peter Dekker’s highly anticipated second album “Anthropomorphic Personification” is about concepts translated into a human(shaped) persona, with human properties. It is a musical leap forward, again filled with analog synthesizer delight and compositions that draw you into the world of Däcker.
https://www.desertedislandmusic.nl/product/dacker-anthropomorphic-personification/

REMY - The Other Side: Lost in Reality (DIM-016)
CD | digital download
“The Other Side: Lost in Reality” contains the registration of the concert at the Grote of St. Bavokerk in Haarlem on September 17th, 2022. This one-off collaboration with a ten-piece choir was specially composed for this occasion and is based on the 2020 track “Lost in Reality”, featured on REMY's album "The Other Side".
https://www.desertedislandmusic.nl/product/remy-the-other-side-lost-in-reality/

Space Art - Personal Duty (DIM-015)
CD | LP | digital download
With “Personal Duty”, legendary French electro pioneer Dominique Perrier continues his Space Art project together with Tommy Rizzitelli. They deliver a sparkling collection of inspiring tracks. Musically it’s likely one of the band’s most varied albums to date.
https://www.desertedislandmusic.nl/product/space-art-personal-duty/

Basic Principles - Colours (DIM-014)
2-CD | digital download
Although being active in music and as painter for many years, Wladimir Duijndam's electronic music is going to be available in physical form for the first time. The album consists of an intense double disc listening experience. While the first disc contains minimal, atmospheric and ambient-like pieces, the second carrier will definitely blow away the Berlin School enthusiasts and analog sequencer fetishists.
https://www.desertedislandmusic.nl/product/basic-principles-colours/

Feralia Planitia - Feralia Planitia (DIM-013)
CD EP | digital download
The five entrancing tracks on the eponymous debut EP by Feralia Planitia evoke reminiscences with the music of Doris Norton, Andrea Parker, Leftfield, Cabaret Voltaire and Kraftwerk. The cover artwork by Patrick Fitou refers to cinematic and sci-fi works by directors like Stanley Kubrick, Andrei Tarkovsky and David Cronenberg.
https://www.desertedislandmusic.nl/product/feralia-planitia-feralia-planitia/

All music featured in this newsletter is available from

www.desertedislandmusic.nl

That's it for now!

Feel free to send your feedback regarding this mailing, our website, releases, or whatever you would like to share with us, and spread the word about the Deserted Island Music album sampler.

Stay safe and healthy!
Musical greetings,

Remy Stroomer
Deserted Island Music

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