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The album “atmospheric” was released in January 2007 to critical acclaim. Drawing heavily on the Berlin School sound, but interpreting it in a distinctly modern style, within its seven tracks it takes the listener on a fresh voyage of discovery, with each piece telling a very different story through the universal medium of music.
Label: Terrainflight TF001
Release Date: 7th January, 2007
Track listing
- Marshfire
- Atmospheric
- Dominos Lament
- Flight of ‘F’
- Tribalibal
- French Game Idea
- Sharazad
Music Composed by Dave Pearson
Dave Pearson: keyboards, drum/sequencer programming, bass & lead guitars
Equipment: cubase sx3, behringer bcf2000 control surface, maudio 88es, hercules 16/12, behringer mdx2600 compander, behringer t1953 valve preamp, behringer di4000, yamaha bass, fender stratocaster, zoom guitar effects pedal, yamaha customised drum pads
Cover art: Dave Pearson
Cluster-2 spacecraft data on “atmospheric” is courtesy of nasa and the university of iowa
Recorded and Produced by Dave Pearson at Terrainflight UK Jun 2006 – Dec 2006
Reviews:
Hypnagogue
Jump in the Wayback Machine, Sherman, and let’s go back to the heyday of analogue electronic music! Set the controls – no, not for the heart of the sun, Sherman – for Computerchemist’s well-programmed and enjoyably nostalgic CD, Atmospheric. Invoking Berlin School inspiration and a love of Tangerine Dream, Computerchemist (aka Dave Pearson) fires off a batch of beat-and-melody driven joyrides that are a pleasure to listen to, especially if you’re a fan of old-school electronica. (Like me.) There’s nothing overly original here – many pieces will likely dredge up thoughts of other music you’ve heard – but it’s solid. That’s the best compliment I can offer: it’s solid. There’s no immediate “wow” factor, but there’s nothing making me want to shut the CD off, either. The opener, Marshfire, morphs from a tangle of interwoven skeins of electronic murmurings into a smooth, almost loungey space-ride. Domino’s Lament and Flight of “F” bounce along on rocking sequencer lines and the steady-if-predictable beat of synthesized drums. All along the way Atmospheric embraces 70s-style electro-bombast and snippets of prog-rock keyboard grandioso, but it’s never so over the top as to bring anything but a nod and a smile. This is how it was, and it wasn’t all that bad! Well worth a listen, and a nice addition to any mix.
Steve Jolliffe
Nice to hear what you’re up to, I always love to hear people being themselves. Lots of detail and colour. keep it flowing.
— Steve Jolliffe, ex-Tangerine Dream, Solo Musician
Jürgen Meurer, Progressive Newsletter
Und wieder mal ein neuer Name bzw. ein neues Synonym in der Elektronik Szene. Diesmal geht es um einen Künstler, der sich Computerchemist nennt. Dahinter steckt der britische Musiker Dave Pearson, der mittlerweile in Ungarn lebt. Er nennt als Inspirationsquellen Klaus Schulze und Tangerine Dream aus den 70er und frühen 80er Jahren. Das ist ja so weit alles andere als ungewöhnlich für einen Musiker, der im Elektronik Genre aktiv ist. Interessant fand ich den weiteren Hinweis, dass er sich auch von gegenwärtiger Musik hat beeinflussen lassen.
Hierzu nennt er zwei Beispiele, nämlich The Mars Volta und Csaba Vedres. Letzterer ist möglicherweise dem einen oder anderen Leser als ehemaliger Keyboarder der ungarischen Prog-Combo After Crying bekannt. Und diese waren bzw. sind nicht gerade für Easy Listening Prog bekannt.
Ich kann jetzt zwar nicht gerade behaupten, dass ich die Prog-Einflüsse in Atmospheric überdeutlich heraushören kann, doch leichte Progansätze gibt es durchaus. Mit Schulze und TD sieht es da natürlich anders aus, denn genau diese klingen dann doch schon mal durch, ohne dass sie jedoch beliebig kopiert werden. Das erste Drittel des Albums nahm ich zunächst als nett, aber unspektakulär zur Kenntnis, doch danach nimmt “Atmospheric” ordentlich an Fahrt auf. Und zwar derart, dass ich mittlerweile von dem gesamten Album absolut begeistert bin. Hier werden in guter Prog-Tradition auch mal Fingerfertigkeiten vorgeführt, der Mann kann durchaus beeindruckend in die Tasten hauen. Aber er bedient auch bisweilen leicht verzerrte Gitarren, was mich auch mal an Edgar Froese, Ashra oder Heldon erinnert. Neben “Flight of F” beeindruckt mich speziell das überaus pompöse “Tribalibal”, das ein Vangelis kaum besser arrangiert hätte. “French game idea” erinnert an Jarre, der Titelsong ein wenig an Tangerine Dream, “Domino’s lament” besitzt Ohrwurmqualität und lässt angesichts des Gitarrenspiels an Edgar Froese denken, das abschließende “Sharazad” hat auch mal leicht krautige Elemente. Der Fan der symphonischen Variante des Elektronik Genres kommt hier voll auf seine Kosten. Dem Briten gelingt es mit diesem Album, sich nachhaltig bemerkbar zu machen. Er verschwindet eben nicht mit einem beliebigen 08/15-Album in der breiten Masse der Elektronik Veröffentlichungen, sondern macht mich ausgesprochen neugierig auf weitere Werke. Stark!
— Jürgen Meurer, Progressive Newsletter Nr. 65 (JM 12)
Encyclopedia of Electronic Music
Computerchemist is the solo project of Dave Pearson. His primary influence is Classic Berlin School music of Klaus Schulze and especially Tangerine Dream. Atmospheric starts with a track titled Marshfire. Heavy synth drones and spacey effects can be heard. Complex distorted guitar passages form the background. Soon, a steady rhythm starts, as various echoing sequences pulsate. However, the track ends just too soon. The title track starts with subtle noises and an excellent melodic theme ala early 1980’s Tangerine Dream. Now, that’s what I call quality EM. If you like melodic, Tangerine Dream-influenced sound, be sure to check this one out. After a brief atmospheric interlude, the melodic theme returns, this time sounding almost Classical. Soon, quite heavy drums appear for what seems like a very energetic conclusion. Domino’s Lament starts with upbeat sequences and a synth pad. Soon, a slow drum rhythm appears, making this a very melodic and positive track…. Some nice synth and guitar solos on this one. I also liked the conclusion (when the choir came in). Flight of ‘f’ starts with flute refrains. After a few seconds, a nice deep sequence appears, accompanied by spacey synth pads. Heavy drums are an enjoyable extra. Overall, it’s one of the better tracks on show here, pure New Berlin School. Tribalibal has quite dramatic sequences and a simple bass synth theme for an introduction. Soon, twittering effects, a piano melody and heavy rolling drums take over…. once the bombastic elements give way for more atmospheric sounds, it all becomes much more palatable. I loved the synth solo over a bed of atmospheric synths – very tasty! The rhythm then returns and once the guitar comes in, it all becomes rather chaotic. As a whole, I liked this piece, although I could probably do without the sax solo at the end. French Game Idea starts with a funky rhythm that is joined by a very Jarre-like melodic theme. It is then replaced by a quiet section with a sequence and a growling guitar sound. Good effects give way for melodic synth pads. The Jarre-like melodies return for a while before the track is over. Sharazad begins with disjointed organ chords. After a while we hear a melodic theme with a vaguely Arabic flair. A flute plays on top of rhythms / sequences in an interesting manner. The track ends with a Classical-sounding section, where synth strings and dramatic chords play an important role. Atmospheric is a nice EM album that’s well worth checking out.
— Artemi Pugachov, Encyclopedia of Electronic Music
Sonic Curiosity
This release from 2007 offers 60 minutes of music that combines classical and electronic instruments to produce tuneage of a distinctly cheery nature. This music employs delicate electronics in conjunction with traditional and cerebral elements, producing a strange hybrid that celebrates the best of all worlds. Serious aspects are juxtaposed with a frivolity that elevates the listener. The first track blends orchestral elements with bouncy electronics, creating a counterpoint between sawing violins and bubbly rhythms. A somber opening leads to a floating jubilation peppered with muffled beats and cheerful pitches. The next piece utilizes recordings of particle impacts with the Earth’s magnetosphere, mixing them in with brooding cellos and gurgling electronics. What starts out pensive gradually accrues vitality and pep, transforming scientific evidence into a vital component of a lush panorama of optimism. Next, we have a song that explores more conventional pop territory, injecting marching drums and lilting keyboards with merry flight as airy notes cavort in an uplifting breeze, ultimately reaching a dazzling crescendo of inspired buoyancy. The fourth track applies energetic tempos to a heavenly vista. Fanciful keys prance about, embodying more propulsion than the staid percussion, resulting in a soaring excursion into a realm of brilliant illumination. The next piece embodies a sense of grandeur tempered with seemingly random electronic bloops punctuating a sweep of grand piano. The melody swells with vigorous presence, achieving a dramatic with searing guitar and a crowd of genial electronic embellishments. Next, there’s a dose of high altitude cheer seasoned with divine keys and chugging rhythms. A middle section affords a glimpse of desperate consequences, but the merriment proves triumphant, resurging with inevitable mirth. The last track infuses the comfortable gaiety with an exotic flair, flavoring an ascending progression with an undercurrent of mystery. These compositions posses the unique character of merging a sense of scientific curiosity with a mood of eternal optimism. Uplifting and infectious, the tunes are tastefully crafted to entertain while banishing all doldrums.
— Matt Howarth, Sonic Curiosity
Csaba Vedres
If you want to fly and leave the hardships of this reality behind or search for unknown, restful worlds, this music will help you a great deal.
— Csaba Vedres (ex-After Crying, Townscream, Kairos)
