COMPUTERCHEMIST

Part of the appeal on this one is the guitar. It's almost like Dave decided with Zsolt on drums he could focus more on the guitar. He plays bass and of course electronics here too. The result is amazing. I love those guitar expressions that bring to mind RADIO MASSACRE INTERNATIONAL and Manuel Gottsching. Another long one at just under 70 minutes over eight tracks. This is a uniform sounding album which I really like, very consistent. The exception to the "uniform" sound is the opener "Strangeness In 13" where I'm reminded of "Tubular Bells" with that piano sound and style. We do get drums and guitar and some melancholy here.

The next two tracks are incredible and my top two. "Goodbye, Moszkva Ter" where we get more intensity with the drums pounding away as spacey synths and guitar play over top. Really good! "Floor Zero" opens with a sample of a woman speaking over a intercom, like at an airport. Heavy beats and sound take over. I like the drumming here, but man those guitar expressions starting before 4 minutes contain a lot of "wow" moments. "Commution" opens with some experimental sounds from the guitar I believe and whistling? Drums join in and a guitar melody comes out of this. Suddenly piano only but the guitar returns to lead. Synths play the same melody the guitar did earlier as synths and guitar take turns leading.

"Forgotten Memory" opens with sequencers and spacey sounds from the guitar. Drums and bass replace the sequencers. "Smeem" opens with sequencers and more. Almost a bluesy vibe here surprisingly. This trips along with synths and drums, then the guitar starts to solo before 5 minutes. Keys and guitar will take turns leading. "The Needs Of The Many" is all about the beats and pulses with spacey synths over top. Guitar around 3 1/2 minutes to the end. "Bongo In 4" ends it, and the start is interesting with the percussion, atmosphere and more. Guitar before 2 minutes. Just a feel good sound to this one.

This will be part of my "best of" electronic list if I get to it. I'm so impressed with the guitar playing on here, in fact it takes Dave's music to another level.

"Signatures I" was released in 2013 along with "Signatures II" which I hope to review soon. This one is a long one at over 75 minutes covering eight tracks. It's just not as consistent as "Icon I" in my opinion, but there are several tracks I am really into. The first of those would be "Szoltmatic-10" with the opening thunder and melancholic synths. Tripping along here as sequencers drive this along. Guitar arrives around 5 minutes in, then it's the sequencer/drum show after 7 1/2 minutes. The drummer's last name is Szolt which is of course in this song title.

"Corporatosaur" just sounds really cool with the electronics and guitar. Drums will kick in around 5 1/2 minutes then the guitar cries out. Really good! It turns spacey late to end it. "Six Phase Mains" is another highlight with the drums and sequencers doing their thing with spacey synths providing atmosphere. Some nice synth sounds here and the guitar around 3 1/2 minutes is a bonus. The closer rounds out my top four. "Landform 2012" is the shortest one on here but it's quality. Sequencers and drums as the guitar joins in. It's a great recipe my friends.

The one track I didn't really like was "Broken Daliuette". COMPUTERCHEMIST has been a really nice discovery. I like guitar and real drums in my electronics and Dave delivers the goods. And the man can compose a song, I'll say that.

In 2013 Pearson became part of a band called AUDIO COLOGNE PROJECT, but he continues to release solo albums in the process. "Icon One" is from 2008 and is his sophomore release. He has a long list of stuff he plays here including yamaha bass, fender stratocaster guitar and yamaha drum pads. When it comes to the electronic equipment it's impressive to say the least. All of this wouldn't amount to a hill of beans if he wasn't such a gifted composer. And that's the key in my opinion, and what makes COMPUTERCHEMIST a must for electronic fans out there.

This was love at first listen and I must admit I was very surprised in the process, not knowing this musician or project prior. Thankfully I did pick this record up along with two of his 2013 releases about a dozen years ago. We get five songs worth under 59 minutes. And I looked forward to spinning this each time. It's surprisingly catchy and melodic, with that 18 minute, self titled opener leading the way in those departments. The sequencers are certainly helping with that. But this guy has a brilliant way of combining different electronic sounds to great affect. A composer indeed. Some of this stuff is otherworldly and so majestic. Lots of piano too and that is where I hear that classical sound at times.

One of my favourite sounds is the melancholic synths, and we get plenty of those on this record beginning mostly on track two called "Timethorns". This gets majestic as well after 4 minutes with those sweeping sounds. But before that it's mid-paced sequencers and melancholy. The melancholy returns later. "Chaos Theory" is good with that guitar standing out along with synths that pulse and plenty of piano. "Icon Zero" at 17 minutes opens in a very dreamy and spacey manner. A bass line and beats join in around 5 minutes. Back to spacey then sequencers at 7 minutes. Melancholic synths around 10 minutes. Lots of space and piano later.

Finally, we get the closer "The Message" the shortest piece by far at under 5 minutes. And there's a video for this one. I'm really looking forward to those two 2013 releases after spending time with this one. Pearson recently released an album that sort of follows in Manual Gottsching's footsteps of a guitar only release playing spacey kosmisch music. A talented man, no doubt that.

It takes no genius to figure out, this musician has some kind of "classical" music training. That is something easily detected in his sequencer scales and compositional structures. Now don't get me wrong, this is still "Electronic" music. Also it turns quiet impossible not to associate SOME of his musical "cadences", to the "empires" of the T Dream's kingdom.

But again if you listen closely, as told, it will be evident, that Dave Pearson's songwriting, has a place of its own, far beyond's TD's domain. In fact the music is well balanced, it never abuses, none of its tools, let them be drum boxes, sequencer riffs or synth atmospherics, all due to a very "tasty" songwriting. And to be honest his sequencer passages, are far more interesting, than TD's 80's ones.

To round things up, these "Atmospherics" are not ambiental. They are just "electronic instrumented" vocal less songs. It is enjoyable, well produced and composed. It lacks an all personal musical language, but enough to be considered and listened to.

***3 "Good, as a promising first release" PA stars.

And it is an aptly named album to my ears. Distinct moods and accessible melodies appear to be the focus throughout, with gentle electronic rhythm and percussion details supplemented by steady drum patterns as the foundation, supplemented by dark and light layers of synths and sounds. Material fairly easy on the mind and ears paired of with constructions of a somewhat more challenging nature without ever reaching a level I'd describe as demanding from a listener point of view.

While we do get treated to compositions sporting slower paced, ambient inserts as well as shifts in intensity and thematic buildups, the majority of the material stays melodic and easy to follow, and whenever alterations do occur they rarely challenge you on any level, instead focusing on maintaining listener interest with smooth transitions and careful use of lead motifs. At least as I experienced this production.

With circulating or repetitive gentle rhythms at heart and smooth, surging and swirling synth textures as key elements, associations go towards the likes of Jean Michel Jarre for the most accessible parts explored while the somewhat more daring and challenging movements inspires associations towards Tangerine Dream first and foremost. Occasional details used also gave me fain notions of early Gary Numan and on one occasion Deep Purple, but if those are accidental or planned I can't really tell. Most likely accidental, but you can never know.

All in all a well made debut album, filled with pleasant and memorable electronic excursions of a kind that I suspect will appeal strongest to those who have albums by aforementioned Jarre and Tangerine Dream side by side in their music collection, and in particular those fond of music of this kind that, as the name of the album implies, is atmospheric.

The material at hand is one that by and large will see many comparisons made in the direction of Tangerine Dream. The use of electronic rhythm details of a melodic nature in particular is one that in sound, scope and overall atmosphere inspires associations to this legendary German unit, but the surging synth motifs, mournful backdrops and occasional darker toned undercurrents are all of a kind that most likely will sound familiar to long time fans of Tangerine Dream.

The multiple part compositions Icon One and Icon Zero dominates the proceedings, clocking in at just over 15 minutes each, the former most alike the aforementioned associations while the latter incorporate a few additional elements that creates a stronger personal identity to the proceedings, at least to my ears. The clever use of frantic, toned down rhythms in particular an element that elevates the listener experience in the latter case. In general I'll also remark that some of the more tender movements, utilizing the piano as lead motif provider, does give me associations towards Austrian keyboard wizard Gandalf just as much as Tangerine Dream.

The circular nature of the somewhat shorter creation Timethorns is probably the most impressive track as far as my own taste is concerned here. Opening with a careful piano and synth motif that gradually shifts to a more distinct Tangerine Dream sound, the overall intensity growing and subsequently fading nicely before going full circle as the compositions shifts back to the opening theme at the end. Final track The Message, with it's alternating sparse piano driven and layered synth and guitar driven movements, is another one that makes a strong overall impression.

All in all this is an album I feel can safely be recommended to fans of Tangerine Dream and artists exploring similar waters, and in particular those amongst them who tend to enjoy accessible, melodic music of this kind.

As far as style and inspirations go, this is a production that will have an instant appeal for fans of Tangerine Dream. The use of electronic percussion with melodic intent, also described as sequencers by those more familiar with this type of music than I am unless I'm much mistaken, is a strong identity mark throughout and utilized in a fairly similar manner as the aforementioned legendary German band. An additional trademark feature are mournful digital strings of a kind I tend to associate with the Mellotron, with various effects and synth motifs coming and going as supplemental details alongside regular drums and guitars.

Despite the use of the latter two this is an album that can and should be safely regarded within an electronic music context however, to be placed somewhere pretty close to the accessible parts of the Berlin School movement.

Indeed, opening track After The Eclipse is careful and smooth enough to give rise to new age associations as well, and while that slight touch of an even gentler stylistic expression is a standalone feature on this album it does indicate that those more fond of minimalistic, challenging endeavors may not be a key audience for this production.

Tracks like Darklight Drive and in particular Landform explores the light and dark toned duality in a nice and effective manner, maintaining tension and drive through careful contrasts that crafts mesmerizing moods with ease, and while final composition Geoid with it's jazz-tinged subservient details doesn't manage to intrigue quite as much this one too is a pleasant specimen of it's kind. The one creation not yet mentioned, Cave Search, is more of a yin and yan affair. The opening half a splendid constellation of mesmerizing sounds that gels perfectly together to form just about the most intriguing few minutes I've come across by this artist so far, then shifts to explore a musical landscape that never rally managed to catch my attention. The roller-coaster ride of this production.

All in all this is a well made album, sporting a fair few examples of music that should have a strong appeal amongst fans of Tangerine Dream in general and amongst those among them fond of the melodic and accessible part of that band's repertoire in particular.

A common denominator throughout this album is a subtle but distinct presence of Tangerine Dream, at last to these relatively novice ears as far as electronic music is concerned. Most of all I'm reminded of the early 80's material by this influential and highly productive German band, first and foremost due to Pearson's use of distinctly rhythm oriented yet melodic synth motifs throughout. Set up in a manner which inspired inspirations to Tangerine Dream albums such as "White Eagle".

Ardent fans of Tangerine Dream shouldn't rush out to by this album due to this description alone however, as "Aqual Measure" is an album with a bit more to it than this particular detail. Darker tinged, subtly more industrial and bleak sounding atmospheres closer to the likes of Kraftwerk does make the occasional appearance, and playful, positive and energetic displays that adds something of an Ozric Tentacles flavor to the proceedings are other details to take note of.

But the arguably most striking additional dimension is the way drums and guitars supplements the electronic instrumentation. At times reminding ever so slightly of the aforementioned Ozrizs, at other times creating more of an Hawkwind-tinged atmosphere but most often giving these compositions more than a touch of Pink Floyd. In a fairly accessible, late 70's manner that is. On final composition Atlantic Rift we're even treated to both an electronic noise-scape and an elongated movement sporting dark, massive guitar riffs as the driving force supported by steady drums and frail fluctuating electronics in an almost prog metal oriented manner.

While some of these creations do become a tad too one-dimensional at times, this is first and foremost an enjoyable excursion that should find Cavour amongst those who enjoy the music of Tangerine Dream and Pink Floyd both. As long as you don't expect to encounter an artist that have rewritten the rulebook, but instead is able to enjoy a creator of music that have chosen hos framework and operates with assured knowledge within it, this is an album that merits an inspection by those who recognize themselves in the description previously given.

A characteristic trait for all songs on this most recent Computerchemist production is that these aren't compositions in the traditional sense. We're not dealing with creations that have a regular starting point followed by a development to a more or less logical conclusion. Instead these are mood and atmosphere explorations, setting up a distinct mood and exploring it in more or less subtle variations before finding a suitable manner in which to conclude. While not quite as one-dimensional as this description might sound like, those fond of and accustomed to compositions with a traditional development might find this aspect of the CD not quite to their taste.

Apart from that detail, a central feature throughout is the unmistaken influence of Tangerine Dream. Be it in subtle details like gently hammering synth motifs or more dominant thematic details, there's a distinct presence of this highly influential German band running throughout this album. Paired off with quite a few additional tendencies mind you.

Strangeness in 13 features a gentle piano motif that brings Austrian keyboard wizard Gandalf to mind, while Goodbye Moszkva Ter and to a somewhat lesser extent Forgotten Memory does add a certain Hawkwind presence to the proceedings by way of cosmic sounds and longing guitar soloing. Floor Zero with it's darker, dystopian atmosphere gave me associations to the likes of Gary Numan, and while the alternating more or less distorted guitar and synth themes of Commution, alongside the gentle piano interludes with careful unreal sound effects, didn't give me any distinct associations as such it's still an intriguing ride. An elongated drums and piano insert a nice and effective break on this epic length track.

The final trio of songs are all in varying degrees creations I'd describe as a blend of Pink Floyd and Tangerine Dream in style. Smeem has what appears to be a stronger basis in blues though, The Needs Of The Many has a stronger identity mark in surging and soaring synth motifs, while final piece Bongo in 4 opts to replace the careful Floydian guitar details with digital strings in the final phase, creating a very distinct and different atmosphere by way of replacing an instrument.

Pearson's compositions are obviously mapped out in a manner that doesn't in any manner make them mere replicas of the artists the individual listener will associate with the different songs, associations that most likely will differ from one listener to the next. I've seen artists like Ozric Tentacles thrown in the association mix for this album too, and of my own associations I suspect that my Gandalf and Gary Numan pointers will be rather uniquely my own, and probably accidental ones as well. The associations game does give a few indications to potential buyers however, and hopefully some of the ones intrigued by the descriptions given will take the time to listen to this album. That is, after all, the point in writing a review.

At last I'll compliment the rhythms department in general and the contributions of drummer Zsolt Gálanta in particular, whose contributions does elevate the listener experience with fine arrays of suitably complex patterns that fits the material at hand in mood and atmosphere both.

All in all "Signatures II" is a solid production, with fans of Tangerine Dream and Pink Floyd both a likely key audience.

What separates these two productions, if anything, is something time will have to reveal for me personally. But as far as the first chapter of Signatures goes, it is an interesting excursion into a realm whose founding fathers were Tangerine Dream and Kraftwerk. The traces of the former a distinctive feature throughout, but with occasional details and subtle traces of the latter appearing on occasion.

Pearson's approach as a composer is one that some might describe as somewhat one-dimensional. His creations doesn't head off into unexpected directions, and he isn't too fond of applying dramatic effects either. In fact, my impression is that something of a feature throughout this album is that some care has been taken to avoid any truly dramatic occurrences whatsoever. Instead, these musical journeys open up, quickly establish one or more lead motfis or ongoing musical details that will stick with us until the end, and then the song gradually, subtly and carefully develops. Textures, instruments and patterns come and go in a logical, fine flowing and unobtrusive manner. It's like Pearson have looked at a "hush, don't disturb" sign and used that as something of a vision, we're taken on a journey where we're invited to enjoy the journey itself rather than the promise of surprises along the way.

Just how intriguing the eight journeys presented to us here will be is a matter of individual taste more than anything though. It is something of a prerequisite to enjoy compositions developing in the matter outlined obviously, but apart from that it will be an individual case just how compelling each composition will be. Personally I found the creations exploring the darker moods most intriguing, Corporatosaur and Six Phase Mains first and foremost. Complete with gently hammering electronic yet melodic effects and effective synth effects, a fine coating of drum patterns courtesy of Galantai and atmospheric guitar details of a kind that should find instant recognition by those familiar with late 70's Pink Floyd. Most impressive of all to my ears is the concluding piece though, listed as a bonus track. Landform 2012 is something of an exception to what's previously described, as this short piece utilize a fair degree of dramatic effects, although applied and utilized with care, and at least to my ears the arrangements are somewhat more intricate too, with several contrasting patterns and motifs creating a stronger nerve throughout.

All in all a fine piece of electronic music of the progressive variety, employing and utilizing elements from the art rock realms to good effect. Floydian guitar details in particular, but drummer Galantai appears to be a musician well versed in sophisticated music too and adds a vibrant, organic and skilled touch to the proceedings that does elevate the overall experience.