{"id":234,"date":"2013-01-06T08:42:07","date_gmt":"2013-01-06T08:42:07","guid":{"rendered":"\/\/www.computerchemist.com\/wordpress\/?p=234"},"modified":"2023-08-02T18:38:25","modified_gmt":"2023-08-02T18:38:25","slug":"signatures-ii-ft-zsolt-galantai-2013","status":"publish","type":"post","link":"https:\/\/computerchemist.com\/wordpress\/index.php\/2013\/01\/06\/signatures-ii-ft-zsolt-galantai-2013\/","title":{"rendered":"Signatures II. ft. Zsolt Gal\u00e1ntai (2013)"},"content":{"rendered":"\n<p class=\"has-medium-font-size\"><a href=\"#reviews\">Click HERE to go straight to reviews<\/a><\/p>\n\n\n\n<p class=\"has-medium-font-size\"><a rel=\"noreferrer noopener\" href=\"https:\/\/computerchemist.bandcamp.com\/album\/signatures-ii-feat-zsolt-gal-ntai\" target=\"_blank\">Click HERE to listen\/order<\/a><\/p>\n\n\n\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3677134158\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless><a href=\"https:\/\/computerchemist.bandcamp.com\/album\/signatures-ii-feat-zsolt-gal-ntai\">signatures II. (feat. zsolt gal\u00e1ntai) by computerchemist<\/a><\/iframe>\n\n\n\n<p class=\"has-medium-font-size\">With the addition of the acclaimed Hungarian drummer, Zsolt Gal\u00e1ntai, formerly of the rock band &#8220;Ossian&#8221; and &#8220;Baba Yaga&#8221;, Dave Pearson has produced a work which fuses the essence of German Electronic Berlin School with Progressive Rock elements.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Label: Terrainflight TF008<br>Release Date: 6th January, 2013<\/p>\n\n\n\n<p>Track Listing<\/p>\n\n\n\n<ol class=\"has-medium-font-size wp-block-list\">\n<li>strangeness in 13<\/li>\n\n\n\n<li>goodbye, moszkva t\u00e9r<\/li>\n\n\n\n<li>floor zero<\/li>\n\n\n\n<li>commution<\/li>\n\n\n\n<li>forgotten memory<\/li>\n\n\n\n<li>smeem<\/li>\n\n\n\n<li>the needs of the many<\/li>\n\n\n\n<li>bongo in 4 (bonus track)<\/li>\n<\/ol>\n\n\n\n<p class=\"has-medium-font-size\">Dave Pearson: keyboards, sequencer programming, bass &amp; lead guitars<br>Zsolt Gal\u00e1ntai: drums<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Artwork and design: Angiewoman<\/p>\n\n\n\n<p class=\"has-medium-font-size\">All composing, mixing and mastering in the digital domain at terrainflight hungary and zsolt studios budapest between Jul 2011 and Oct 2012<br>Written &amp; produced by Dave Pearson &amp; Zsolt Gal\u00e1ntai<br>Tracks 1-7 \u00a9\u2117 2013 Dave Pearson &amp; Zsolt Gal\u00e1ntai, track 8 \u00a9\u2117 2013 Dave Pearson<br>Terrainflight TF008<br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h1 class=\"wp-block-heading\" id=\"reviews\">Reviews:<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"classic_rock\">Classic Rock Society Magazine<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2020\/01\/fb2ba-paul_baker.jpg\" alt=\"\" class=\"wp-image-1093\" width=\"221\" height=\"221\"\/><figcaption class=\"wp-element-caption\"><em>Paul Baker, reviewer for Classic Rock Society, Host of &#8220;Soundscapes&#8221;  broadcast on ARfm, Phoenix Radio, LKCB Classic Rock Canada and Radio Tamworth<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">All too often an album arrives in the Soundscapes Office accompanied by the press \u2018blurb\u2019 declaring that the artist has \u2018stretched the boundaries\u2019, or \u2018created a new sound\u2019 and other such bold and sweeping statements. However when Dave Pearson, (aka Computerchemist, or should that be the other way around?), said \u201cBecause this is a little more crossover I thought you might be interested\u201d, I was a little sceptical, but not too much as I\u2019m heard from Dave before and knew that he wasn\u2019t afraid to do things \u2018his way\u2019.<br>Signatures is a double album, released as two single albums, that may sound a little strange but please read on and you\u2019ll soon know why!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Signatures I is very much an electronic, synth or whatever it is called these days, fans dream, opener Caterpillar Pirouette starts with a solid sequencer driven base, but soon grows and the \u2018unusual\u2019 begins to show itself. Guitar, bass and drums, yes real drums from Zsolt Gal\u00e1ntai, really do change the listening perspective of the music, but remains an easy listen for an electronic music fan!<br>This first album really starts to show its true colours, (or should that be kaleidoscopic rainbow of ever changing mood and colour?), with Dobdub, drums to the fore with a more laid back jazzy feel, but never quite crossing over into full blow jazz, smooth, intricate and interesting.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">The epic Zsoltmatic is a piece of music that I find hard to describe, it has just about everything, from thunder and rain, a slightly 80\u2019s feel to a sequencer opening with a drifting keyboard gently over riding , but then the drums kick in and that is a whole new ball game! Is this Prog Rock, Kraut Rock, Psychedelic or something else? I don\u2019t know and I don\u2019t care, it is certainly more interesting than a whole collection of albums by the so called \u2018superstars\u2019 ( who sold millions of records of bland repetitive tripe!), of this genre and certainly pushes things beyond the \u2018bleeps, whistles and farts\u2019 criteria. Here again, Dave isn\u2019t afraid to do things differently, drums drive, guitar soars, bass binds it all together, but there is still that \u2018electronic\u2019 element, simply marvellous.<br>The album continues in this vein, just when you think Dave and Zsolt have \u2018calmed down\u2019 and are allowing you to relax into the album along comes Six Phase Mains a slightly, dare I say it conventional almost commercial opening, soon expands its horizons and unfurls into to a classic track with a bit of a twist, that twist being pure Computerchemist. Hard to put this into words, so you\u2019ll just have to buy it and listen for yourself.<br>Onto Signatures II, certainly the more \u2018conventionally\u2019 progressively influenced of the two parts of the album. Strangeness in 13 I had a sneak preview of from Dave sometime ago, but the track still delights, from slightly \u2018Oldfield\u2019 opening piano, again a subtle under pinning from the drums and the guitar drifting in and out, leave you wanting to hear more!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Goodbye Moszkva Ter, picks up the pace, maybe a little Ozrics or Hawkwind in psychedelic mode? I don\u2019t know and to be really honest, don\u2019t really care, why try to compare a work that is quite openly and honestly going to defy \u2018normal\u2019 musical boundaries?<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Commution is probably the stand out \u2018proggy\u2019 track, King Crimson, meet ELP, throw in Jimi Hendrix and your favourite prog drummer and you\u2019ll get the picture. There is a bit of surprise moment in this one, but you\u2019ll have to listen for yourself, but trust me, I don\u2019t think it has ever been done before!<br>Signatures may have a few moments where you go, \u2018oh that might be\u2019, or \u2018that\u2019s so &amp; so\u2019, but it never really sounds like anybody else. Prog Rock influences and styles are there but they\u2019re, I want to say \u2018mashed\u2019 but that isn\u2019t right, blended maybe better, together in a pretty unique way.<\/p>\n\n\n\n<p>Blimey this is a bit of a rambling review, sorry, but it is a double album!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">OK, to try and sum this up, Signatures I &amp; II is an album that really does push the boundaries, without ever being \u2018weird\u2019, just to make an impact. Yes conventions are stretched, twisted or just totally thrown away, but the album has continuity, a strong melodic core, time changes, crunching and then soaring guitars, driving rhythms, for once I think that this is a collection of tunes that really does have something for everybody, but don\u2019t expect an easy, comfortable ride, this isn\u2019t EM, it isn\u2019t Prog, it isn\u2019t full on rock, but it has elements of all and will challenge your music listening sensibilities, stay with it, and you will not be disappointed. If you are, give up listening to music now and play tiddlywinks all day instead. Simply marvellous!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Paul Baker (ARFM Soundscapes), Classic Rock Society Magazine Issue 194 (March\/April 2013)<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"progressive_de\">Progressive Newsletter (DE)<\/h2>\n\n\n<div class=\"wp-block-image is-style-default\">\n<figure class=\"alignleft size-large is-resized\"><a href=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/03\/2f587-pnl.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/03\/2f587-pnl.png?w=575\" alt=\"\" class=\"wp-image-399\" width=\"195\" height=\"105\" srcset=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/03\/2f587-pnl.png 575w, https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/03\/2f587-pnl-300x163.png 300w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/a><figcaption class=\"wp-element-caption\">Progressive Newsletter is a German language prog magazine that launched in 1995.<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Der Name Computerchemist tauchte bereits vor \u00fcber zwei Jahren im PNL auf. Danach war erst mal nichts mehr von David Pearson zu h\u00f6ren, der hinter dem Pseudonym Computerchemist steckt. Nun ist er zur\u00fcck mit einem zweigeteilten Projekt, das mit einer Besonderheit aufwartet. Pearson, der haupts\u00e4chlich an Synthesizern agiert, aber ebenso Gitarren und Bass bedient und f\u00fcr Sequenzer Programming zust\u00e4ndig ist, bekommt n\u00e4mlich tatkr\u00e4ftige Unterst\u00fctzung. Und wer jetzt billigen programmierten Rhythmus erwartet, liegt v\u00f6llig falsch, denn der Gast ist Schlagzeuger. Und dass dieser Schlagzeuger nicht nur mal eben zum Einspielen von einigen wenigen Parts ins Studio gekommen ist (\u00fcbrigens in sein eigenes Zsolt Studios), zeigt sich nicht nur im durchweg kompetenten Schlagzeugspiel, sondern auch in der Tatsache, dass \u2013 bis auf den jeweiligen Abschlusstitel \u2013 s\u00e4mtliche Titel als Gemeinschaftskompositionen entstanden.<br>Dave Pearson lebt schon seit geraumer Zeit in Ungarn, und so erstaunt es auch nicht, dass der drummende Gast aus Ungarn stammt. Es handelt sich hierbei um Zsolt Galantai, der bereits unter dem Projektnamen \u201eRusty Gold\u201c ein Progalbum ver\u00f6ffentlichte. Zsolts Mitwirken macht schon einen Unterschied. Wer elektronische Musik mit der Begr\u00fcndung ablehnt, dass programmierte Rhythmen einfach mies klingen, muss die Grundeinstellung \u00fcberdenken \u2013 denn hier klingt dies definitiv anders. Entsprechend wird dies auch auf dem Frontcover gew\u00fcrdigt: dort hei\u00dft es n\u00e4mlich \u201eComputerchemist ft. Zsolt Galantai\u201c.<br>Beide Alben enthalten jeweils acht Titel, die Aufnahmen stammen jeweils aus der Zeit zwischen Juli 2011 und August 2012. Seinen auf fr\u00fcheren Alben pr\u00e4sentierten Stil hat Pearson nicht grundlegend ge\u00e4ndert. Die Arbeit an den Tasteninstrumenten bildet die Grundlage, bei einigen Titeln \u00fcbernimmt die elektrische Gitarre eine dominante Rolle. Das erinnert \u2013 nicht ganz \u00fcberraschend \u2013 an einigen Stellen an Tangerine Dream, aber Computerchemist ist weit mehr als einfach nur ein TD-Abklatsch. Da sind nicht alle Titel gleich strukturiert, sondern es werden verschieden Facetten pr\u00e4sentiert. Es gibt die \u00fcblichen Symphonik-Ausfl\u00fcge, bei denen auch wieder Mellotronsounds eingesetzt werden, aber \u2013 wohl auch dank Galantai \u2013 einige Titel, die auch mal Jamsession-Charakter haben.<br>Beide Alben sind empfehlenswert, wobei auff\u00e4llt, dass bei Teil 2 noch mehr Wert auf Abwechslung gelegt wurde. Dort werden auch Jazz-Einfl\u00fcsse wie auch rockige Parts eingebaut. Anspruchsvoll. JM<br>(\u201eSignatures I\u201c WE 10, JM 11, \u201eSignatures II\u201c WE 11, JM 12)<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>J\u00fcrgen Meurer, Progressive Newsletter Nr. 77<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"schallwende_de\">Schallwende Magazine (DE)<\/h2>\n\n\n<div class=\"wp-block-image is-style-default\">\n<figure class=\"alignleft size-large is-resized\"><a href=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/05\/ea7b0-schallwende.jpg\"><img decoding=\"async\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/05\/ea7b0-schallwende.jpg?w=490\" alt=\"\" class=\"wp-image-588\" width=\"-53\" height=\"-9\" srcset=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/05\/ea7b0-schallwende.jpg 490w, https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/05\/ea7b0-schallwende-300x56.jpg 300w\" sizes=\"(max-width: 490px) 100vw, 490px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Der in Ungarn lebende Engl\u00e4nder Dave Pearson, der unter dem Namen Computerchemist als Elektronikmusiker aktiv ist, hat sich f\u00fcr seine aktuelle Produktion Unterst\u00fctzung geholt. Diese Unterst\u00fctzung ist so elementar, dass im Titel der Alben nicht nur \u201eComputerchemist\u201c steht, sondern auch der zweite Name \u201eft. Zsolt Gal\u00e1ntai\u201c. Der Begriff \u201efeaturing\u201c wird u. a. verdeutlicht durch die Nennung von Zsolt Gal\u00e1ntai neben Dave als Komponist und Produzent des Albums.<br>Zsolt Gal\u00e1ntai ist Schlagzeuger, und der bekommt geh\u00f6rig zu tun. Das \u201efeaturing\u201c ist in dem Fall \u201eSignatures\u201c w\u00f6rtlich zu nehmen. Denn das Schlagzeug ist ein ganz wesentlicher Teil der Musik, nicht nur schm\u00fcckendes Beiwerk, und auch nicht dezent, sondern ziemlich im Vordergrund.<br>Dave Pearson hat mir zu seinen \u201eSignatures\u201c einige Informationen geschickt. Denen war zu entnehmen, wie die St\u00fccke entstanden. Der Anfang war die Idee, nicht den meist \u00fcblichen 4\/4-Takt zu verwenden, sondern eher ungew\u00f6hnliche Taktarten (engl.: time signatures \u2013 Zufall?). Dann kam schon Zsolt ins Spiel, der zu einem \u201eClick Track\u201c spielen sollte, dabei aber frei improvisieren konnte. So ist ein Schlagzeugsolo die Grundlage eines jeden St\u00fcckes auf \u201eSignatures\u201c. Die melodische Basis jedes Tracks ist eine Sequenz, ob nun wie Klavier, Bass oder eben \u201etraditionell\u201c elektronisch klingend. Die Melodien kamen ganz zum Schluss hinzu. Erkl\u00e4rtes Ziel war auch, die Grenzen der \u201eBerliner Schule\u201c bis zum \u00e4u\u00dfersten auszuweiten.<br>\u201eSignatures\u201c ist nicht nur physisch in Teil I. und II. auf jeweils eine eigene CD aufgeteilt. Dave Pearson selbst verortet \u201eSignatures I\u201c bei der EM, \u201eSignatures II\u201c rechnet er mehr dem Kraut- oder Progressive Rock zu. Nach dieser Information hatte ich deutliche musikalische Unterschiede erwartet. Die gibt es zwar, aber nach dem ersten Anh\u00f6ren relativierten sie sich doch st\u00e4rker als gedacht.<br>Es mag erstaunen, wenn man zum ersten Mal in \u201eSignatures\u201c hineinh\u00f6rt, aber die Berliner Schule ist tats\u00e4chlich der Kern dieser Produktion. Es sind eben die Sequenzen, und viele vertraute Kl\u00e4nge wie z. B. Mellotron oder Streichersounds halten die Verbindung. Bei der ersten H\u00e4lfte des Titels \u201eCorporatosaur\u201c, wo noch schlagzeugfreie Schallwellen durch den Raum wogen, kommt die N\u00e4he zur Berliner Schule vielleicht am deutlichsten zum Vorschein.<br>Der Klang des Schlagzeugs wird auf \u201eSignatures I.\u201c des \u00f6fteren dezent verfremdet, und die E-Gitarre ist meist recht zur\u00fcckhaltend gespielt. Das Gewicht liegt halt mehr auf der Elektronik. Die schon erw\u00e4hnte Verwendung von unterschiedlichen Taktarten wird auf sch\u00f6ne Weise in \u201eBroken Daliuette\u201c pr\u00e4sentiert. Die Art, wie der Track beginnt, erinnert mich von Ferne an eine Rhythmusgitarre, nat\u00fcrlich mit ganz anderem Klang. In der Melodie gibt es kurze Momente, die an eine Mandoline denken lassen. Zum Schluss reduziert sich die Musik fast auf ein Schlagzeugsolo.<br>Mit einem Bonustrack, \u201eLandform 2012\u201c, endet der erste Teil von \u201eSignatures\u201c. Das Original \u201eLandform\u201c ist hier vom Stil her stark ver\u00e4ndert, und sehr gut dem aktuellen Album angepasst. Der Track ist um einiges k\u00fcrzer geworden, die Gitarre \u00fcbernimmt einen Teil der Melodie, und mit den letzten T\u00f6nen endet \u201eSignatures I.\u201c so offen, dass man unbedingt gleich mit \u201eSignatures II.\u201c weitermachen m\u00f6chte.<br>In \u201eSignatures II\u201c ist noch mehr Gitarre zu h\u00f6ren, Bass wird vielfach gespielt wie in der Rockmusik, das Schlagzeug wirkt etwas \u201estraighter\u201c als in \u201eSignatures II.\u201c.<br>Ungew\u00f6hnlich auf eine Art, die ich nicht recht zu benennen wei\u00df, wirkt \u201eFloor Zero\u201c. Der Track erinnerte mich am Anfang unmittelbar an \u201eFuture Foundation\u201c, den ersten Titel vom Tranceport-Album \u201eTranceglobal\u201c.<br>Bei \u201eCommution\u201d wohnt der E-Gitarre eine ordentliche Portion H\u00e4rte inne. Als Kontrast finden sich Piano und Vogelstimmen. Insgesamt ist der Titel aber eher dunkel gef\u00e4rbt. Im Lauf des St\u00fccks sind auch jazzige Passagen zu finden.<br>Musikalisch besonders ansprechend finde ich den Titel \u201eSmeem\u201c. Ich habe zwar keinen blassen Schimmer, was das Wort bedeuten soll, aber die Musik hat jedenfalls einen Hauch von Pink Floyd.<br>Der gr\u00f6\u00dfte Unterschied zwischen \u201eSignatures I.\u201c und \u201eSignatures II.\u201c ist vielleicht einfach dieser: Auf Teil I sind die Synthesizer f\u00fchrend in der Melodie, auf Teil II ist es die E-Gitarre. Insgesamt ist denn auch naturgem\u00e4\u00df Teil I der ruhigere Teil.<br>Meiner Meinung nach ist Computerchemist mit \u201eSignatures\u201c ein sehr unterhaltsames und vielseitiges Werk gelungen. Wer von Dave Pearson schon \u00e4ltere Alben kennt, dem d\u00fcrfte auch dieses gefallen. F\u00fcr Freunde des ProgRock ist es ohnehin empfehlenswert. Und wer der Musik von Level Pi (Uwe Cremer), der ja auch schon mit Dave zusammen gearbeitet hat, zuneigt, sollte es ebenfalls mal hiermit versuchen.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Andreas Pawlowski, Schallwende Magazine, May 2013<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"sunday_synth\">ARFM Sunday Synth<\/h2>\n\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Think you\u2019ve heard everything music has to offer? Think again. Improvised, psychedelic, electronic, prog rock. Sounds interesting? Better believe it. Dave Pearson and Zsolt Gal\u00e1ntai stretch musical boundaries to their limits. <\/p>\n\n\n\n<p class=\"has-medium-font-size\">A powerhouse double album from two inspired musicians in their prime &#8211; a merging of instrumental electronic music and prog rock with a touch of metal at times.. all with crazy time signatures!<\/p>\n\n\n\n<p>&#8212; <em>Bruce Gall, ARFM Sunday Synth<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"hypnagogue\">Hypnagogue<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hypnagoguepodcast.files.wordpress.com\/2016\/08\/hypcast_logo_20161.jpg\" alt=\"\" width=\"381\" height=\"74\"\/><figcaption class=\"wp-element-caption\">Hypnagogue: Since 2009, every two weeks, the Hypnagogue Podcast has guided listeners through 90-minute trips into the worlds of ambient, electronic, and contemporary instrumental\/New Age music.<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">On his new two-disc release, Computerchemist (aka Dave Pearson) tries an interesting strategy. He gave drummer Zsolt Gal\u00e1ntai sets of time signatures to follow, then had Gal\u00e1ntai improvise what were essentially long solos. Pearson then went back in and, in tried-and-true Computerchemist fashion, attacked them with the dual weapons of progressive rock and Berlin school concepts. The outcome is a long stretch of fiery, flaring, feel-good tunes that will have you turning up the volume. I will gladly confess to being a huge shill for Pearson\u2019s guitar playing. It\u2019s inspired and passionate and howls with a classic rock \u2018n\u2019 roll lack of restraint. These discs give plenty of that, particularly the second. Strangeness in 13 kicks off that disc with Pearson grinding out soulful solos while a piano slyly offers up whispers of the beginning of Tubular Bells. This leads straight into Goodbye, Moszkva T\u00e9r, which is essentially Pearson and Gal\u00e1ntai strapping you into a chair and pumping a constant stream of high-grade art-rock adrenalin straight into your veins. Then the man gets downright aggressive with his axe, strangling screaming banshee wails out of it for Floor Zero. Meaty keyboard chords fill in the background. On the first disc, Pearson hits the guitar mark when he revisits an old track in Landform 2012. This is a perfect blend of guitar and sequencer, Pearson holding long, soaring notes heavy on the reverb. Pure, gorgeous Berlin. Zsoltmatic is another nice guitar track with a bluesy edge.<br>The other element to Signatures is Pearson\u2019s spot-on sequencer work. He lays down neat geometric patterns for the drums and guitar to flow over, their stringent borders just able to contain the energy. Analog lovers will eat them up in all their T-Dream-influenced glory. (Here, we go back to Zsoltmatic and its followup, Corporatosaur, as prime examples.)<br>It must be said that, to some degree, Signatures is a Must-Love-Drums offering. They\u2019re here, they\u2019re big and full of fills and flare, and Pearson doesn\u2019t relegate them to the back seat. Which means, admittedly, that sometimes they take over and the two sides of the equation feel like they don\u2019t entirely align. It becomes more like a game of catch the drummer. I like the playful charm that runs through Broken Daliuette, for example, which starts off with a feel like a lost Oldfield track, one of those pieces that meanders around an old folk dance. (Excuse the two MO references in one review.) But when Gal\u00e1ntai hits the scene, it feels like the drums are vying for an undue amount of attention attention. The closing couple of minutes, where Pearson comes more in line with the framework of Gal\u00e1ntai\u2019s staccato attack, work better. These just-off-kilter moments are far more the exception than the rule on the Signatures discs, but with the drums given so much prominence, it stands out a bit when it happens. When everything comes in line, however, as it does in most cases here, it creates huge, exhilarating, face-melting gobs of prog-fueled joy. Come and get it.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>John Shanahan, Hypnagogue<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"tangram\">Tangram&#8217;s Music Blog<\/h2>\n\n\n\n<p class=\"has-drop-cap has-medium-font-size\">The new double album Signatures I &amp; II, by much talented Dave Pearson (aka Computerchemist) reveals both krautrock, electronics and progressive rock at it\u2019s very finest. Starting with \u2018Signatures I\u2019, we will travel into the world of krautrock for sure, especially the first half of the album it\u2019s very evident. It\u2019s like listening to some of the best \u2018Tangerine Dream\u2019 music from the early 70\u2032s. It strikes you immediately that the mighty \u2018Computerchemist\u2019 has been influenced by this supergroup to a large extent. And while the first half of the album is TD oriented in many ways, the later half is aching much more towards the sounds of \u2018Ozric Tentacles\u2019 if you ask me. The cosmic shimmering sounds along with the powerful drumming takes place, it\u2019s almost like listenng to a one-man Ozric army. Dave certainly knows every trick in the book, and with this album he has eclipsed himself once again.Very tasty intricate cosmic rock from start to finish.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">As we move along, we get to his other album called \u2018Signatures II\u2019. This album (being my fave of the two) is leaning much more towards electronic rock. But the obvious oozing sounds of Ozric Tentacles cannot be escaped!. Just listen to the amazing piece <strong>Floor Zero<\/strong> and you\u2019ll be in for a lush treat for sure. The very tasty sounds of the guitars and ethereal synths will leave you quite breathless I\u2019d say. My favorite track on the album without a doubt!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Pour a bit of \u2018Ozric Tentacle\u2019, then add some tasty Pink Floyd sounds mixed with some classic Tangerine Dream textures. Stir well, then add a bucketload of Dave Pearson\u2019s own imaginative style. Shake again and stir it well, and you\u2019ll have the latest Computerchemist masterpiece. I would easily and without a doubt recommend this double album to listeners who crave for an infectious and adventurous Berlin-influenced journey, with a dash of prog rock thrown in the mix!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Kristian Persson, Tangram&#8217;s Music Blog<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"greg_allen\">Greg Allen<\/h2>\n\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Computerchemist aka\/ Dave Pearson has released his most interesting album to date, in no small part due to the excellent drumming of Zsolt Gal\u00e1ntai. For me the whole album is interesting, with excellent drumming, tasty sequencer work, very interesting bass lines and some excellent and well placed guitar work by Mr. Pearson. Highly recommended!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Greg Allen, author Klaus Schulze: Electronic Music Legend<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"sequences\">Sequences Magazine<\/h2>\n\n\n\n<p class=\"has-drop-cap has-medium-font-size\">What a start to the new year for Dave Pearson, aka Computerchemist, with a new double album &#8216;Signatures&#8217;. It&#8217;s hard to fit it into a certain category, sometimes we hear raw Krautrock and other times it retains a more electronic stance with sequences and percussion working in harmony, throughout. Production is first class, but the strength throughout the discs is the dynamics of the music diving headlong into a musical whirlwind of meaty real drumming from Hungarian musician Zsolt Galantal and the embellishment of Dave&#8217;s strong powerful guitar chords and sequencing. For more adventurous progressive EM fans, hang on to your seats and enjoy the ride.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Mick Garlick, Sequences Magazine<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"progzilla\">Progzilla Magazine<\/h2>\n\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Well executed, uplifting, yet laid back Berlin-influenced electronic music, with some Prog and jazz-rock overtones, intricate but tasteful drumming and some very interesting guitar work. Will be getting regular spins here at Progzilla Towers!<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Cliff Pearson, Progzilla Magazine<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"pandora_es\">LA CAJA DE PANDORA (ES)<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/02\/f774c-cabecera.jpg\" alt=\"\" class=\"wp-image-387\" width=\"282\" height=\"56\" srcset=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/02\/f774c-cabecera.jpg 598w, https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2013\/02\/f774c-cabecera-300x60.jpg 300w\" sizes=\"auto, (max-width: 282px) 100vw, 282px\" \/><figcaption class=\"wp-element-caption\"><em>Since 2006, the well known writer and critic Jos\u00e9 Luis Mart\u00ednez Arilla from Zaragoza, Spain has been publishing his well respected Spanish language progressive music review blogsite \u201cDescubre la Caja de Pandora\u201d (\u201cDiscovering Pandora\u2019s Box\u201d)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">En estos tiempos que corren es muy dif\u00edcil encontrarse con un artista totalmente implicado en la m\u00fasica que compone. Y es dif\u00edcil porque la tecnolog\u00eda facilita mucho la tarea de un m\u00fasico que no es h\u00e1bil con su instrumento. Estamos ante un caso distinto, porque la m\u00fasica de Computerchemist, alter ego de Dave Pearson, es un diestro ejercicio compositivo donde la m\u00e1s m\u00ednima intenci\u00f3n se refleja de forma totalmente profesional, dada la habilidad t\u00e9cnica en la utilizaci\u00f3n de los instrumentos musicales.<br>Desde 2006, Pearson ha evolucionado de una manera tal que ha inventado un nuevo g\u00e9nero musical al que dedica toda su atenci\u00f3n y cari\u00f1o. Digo que ha inventado un g\u00e9nero, pero no desde el punto de vista de la innovaci\u00f3n, lo afirmo categ\u00f3ricamente desde el sentimiento y el cuidado que pone en todo lo que hace. Y esto se refleja de manera perfecta en este \u00faltimo trabajo, Signatures, del sintetista h\u00fangaro, que no es sino un enorme esfuerzo musical hecho de modo profesional y lleno de emoci\u00f3n. Ser\u00eda muy f\u00e1cil definir su trabajo como herencia del krautrock, concretamente de la escuela de Berl\u00edn, mucho m\u00e1s cercana al jazz rock y al rock progresivo aunque sus composiciones trascienden mucho m\u00e1s all\u00e1.<br>Estamos ante dos obras maestras del siglo XXI sin ninguna duda, y no soy yo el que lo tiene que afirmar de forma tan contundente y vehemente. Sencillamente el tiempo pone a cada uno en su sitio y Dave, un amanuense de la m\u00fasica de nuestro tiempo, sabe c\u00f3mo utilizar todos los recursos que tiene en su mano para regalarnos parte de su vida en estas composiciones. Influencias variadas que van desde el rock espacial al rock electr\u00f3nico alem\u00e1n de los setenta, en una especie de amalgama sincera de propuestas floydianas y de Tangerine Dream. La riqueza de su m\u00fasica es inconmensurable y el list\u00f3n est\u00e1 tan alto que no creo que podamos llegar a escuchar algo de calidad tan noble como este trabajo, presentado en forma doble independiente, que es el disco que nos ocupa. Pero Dave ofrece otra vuelta de tuerca con la incorporaci\u00f3n de un bater\u00eda f\u00edsico, en la figura de Zsolt Gal\u00e1ntai, miembro de Ossian, para experimentar una evoluci\u00f3n cualitativa dentro de su obra musical.<br>Por supuesto que nos vamos a encontrar ritmos secuenciados y ambientes espaciales, pero desde un punto de vista totalmente original, puesto que unas veces correr\u00e1n a cargo de los sintetizadores, otras el bajo se erigir\u00e1 en protagonista y en muchas ocasiones la secuencia estar\u00e1 marcada por la bater\u00eda sobre la que trabajar\u00e1n el resto de los instrumentos. Pero adem\u00e1s, estamos ante uno de los guitarristas m\u00e1s competentes de toda la historia del progresivo en cualquiera de sus \u00e9pocas. Con un estilo totalmente Gilmour, cuando no se trata de secuenciar fragmentos musicales, la guitarra fluye y se desarrolla en espacios de una belleza que impregna el disco de categor\u00eda de cl\u00e1sico. Un dominio absoluto de los espacios y los silencios, proporciona un protagonismo a la guitarra que se sumerge en paisajes sonoros de incalculable belleza.<br>Signatures se nos presenta en dos vol\u00famenes independientes, como ya he dicho antes, y cada uno de ellos aborda situaciones totalmente distintas. Mientras que el volumen primero se centra en un rock espacial de tendencias cl\u00e1sicas, el segundo, que no eran m\u00e1s que temas descartados en las sesiones de grabaci\u00f3n, se instaura como un tributo cl\u00e1sico a la era m\u00e1s espacial de Pink Floyd, con l\u00e1nguidas guitarras, oscuros ambientes y much\u00edsima intenci\u00f3n musical.<br>Si en Signatures I el recuerdo va dedicado a Klaus Schulze o Tangerine Dream, en Signatures II el tributo sincero de un artista dedicado va dirigido hacia David Gilmour y Roger Waters en su etapa m\u00e1s creativa de la primera mitad de la d\u00e9cada de los setenta. Pero yendo m\u00e1s all\u00e1, podemos escuchar, y de qu\u00e9 manera, ejercicios espaciales de formatos cercanos al jazz rock, o experimentos que parecen surgidos de Mike Oldfield, \u201cBroken daliuette\u201d, sin olvidarnos de evidentes homenajes pensando en King Crimson, \u201cCommution\u201d, todo ello bajo el prisma instrumental de este d\u00fao que transcurre por mundos on\u00edricos de elegancia suprema. Destacar temas me parece absurdo puesto que el conjunto de composiciones tiene tal calidad que ninguno de ellos podr\u00eda prevalecer dentro de esta obra maestra.<br>Signatures es un doble trabajo lleno de esperanza musical en estos tiempos tan modernos que nos toca vivir. La tecnolog\u00eda est\u00e1 bien si se sabe utilizar y Dave Pearson pone su coraz\u00f3n en cada nota que emite para obsequiarnos con un trabajo honrado, contundente, emocionante y directo, producto de un sentimiento totalmente musical que ha sabido evolucionar desde formas electr\u00f3nicas cl\u00e1sicas para desembocar en una m\u00fasica estimulante, poderosa de melod\u00edas e inteligentes arreglos que hacen de estos trabajos una obra intemporal e imperecedera.<br>La combinaci\u00f3n de teclados, guitarras y bater\u00eda es una perfecta simbiosis alejada de convencionalismos, que convierten esta m\u00fasica en una obra de arte, un lienzo musical lleno de matices que explora cada rinc\u00f3n de la mente del oyente para dejarlo absorto ante la continua emotividad expositiva, que no hace sino destruir todas las fronteras establecidas en un g\u00e9nero que necesita m\u00fasicos como Dave Pearson para consagrar el g\u00e9nero a lo m\u00e1s alto del Olimpo del Arte con may\u00fasculas.<br>Computerchemist es el resumen fiero y fiel de una \u00e9poca de declaraciones musicales que luchan por salir de la mediocridad de los conformistas. Un pedazo de Historia y Arte por el que merece la pena luchar.<br>Desde este momento me convierto en un incondicional de uno de los genios surgidos en los \u00faltimos a\u00f1os. Gracias Dave por tu dedicaci\u00f3n y tu regalo. Ya lo he dicho en alguna ocasi\u00f3n: Set the controls for the heart of Computerchemist.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Jose Luis Martinez Arilla, Descubre LA CAJA DE PANDORA<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"empulsiv_de\">empulsiv.de (DE)<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large\"><a href=\"https:\/\/www.empulsiv.de\/cdreviews\/714-computerchemist-that-which-prevails\"><img loading=\"lazy\" decoding=\"async\" width=\"448\" height=\"148\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/068b6-empulsiv-1.png\" alt=\"\" class=\"wp-image-959\" srcset=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/068b6-empulsiv-1.png 448w, https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/068b6-empulsiv-1-300x99.png 300w\" sizes=\"auto, (max-width: 448px) 100vw, 448px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>EMPulsiv.de, a german language webzine devoted to Electronic Music around the world.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Epische CD-Produktionen, die sich zum Inhalt nehmen, den H\u00f6rern schon nach den ersten Minuten v\u00f6llig &#8216;wegzublasen&#8217;, gibt es wahrhaftig selten und geh\u00f6ren zu einer eher &#8216;aussterbenden&#8217; Gattung, denn viel zu oft, werden die Produktionen in bester &#8216;Marketingstrategie&#8217;, konsumfreundlich und H\u00f6rgerecht angeboten. Nicht so bei Dave Pearson alias Computerchemist, der sich f\u00fcr die beiden Produktionen den Trommler Zsolt Galantai eingeladen hat und nicht nur deswegen, zwei &#8216;gro\u00dfe&#8217; Alben abliefert. Stilistisch sauber getrennt finden die Geschichten auf Signatures 1 noch eher elektronisch und durchaus &#8216;Hauptstadtorientiert&#8217; statt, so sind auf der zweiten (ebenfalls als eigenst\u00e4ndiges Produkt gefertigt) Scheibe, durchweg &#8216;Prog-Rock meets Psychedelic&#8217;-Tracks zu finden. Selbst wenn die Musik nicht immer den Durchschnitts-Geschmack hiesiger EM-Fans treffen sollte, so muss man beiden Alben ein hohes Mass an Produktionsqualit\u00e4t best\u00e4tigen, denn die Gitarrenparts, das Drumming und die Synths &#8216;erklingen&#8217; im exakten Timing, erzeugen Spannungen und hinterlassen den Eindruck, an etwas Teurem teilgenommen zu haben. Signatures sind wahrhaftig keine einfachen Konsumprodukte, sondern vielmehr die mutige Konstellation, dass &#8216;Episch&#8217; noch geht.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">&#8212; <em>Stefan Erbe, empulsiv.de, 13 May 2013<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"aural_innovations\"> Jerry Kranitz, Aural Innovations<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"442\" height=\"150\" src=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/3f109-image.png?w=300\" alt=\"\" class=\"wp-image-956\" srcset=\"https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/3f109-image.png 442w, https:\/\/computerchemist.com\/wordpress\/wp-content\/uploads\/2019\/03\/3f109-image-300x102.png 300w\" sizes=\"auto, (max-width: 442px) 100vw, 442px\" \/><figcaption class=\"wp-element-caption\"><em>Jerry published the spacerock zine Aural Innovations from 1998-2016, and is the author of Cassette Culture: Homemade Music and the Creative Spirit in the Pre-Internet Age, to be published in April by Vinyl on Demand. <\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-drop-cap has-medium-font-size\">Computerchemist is headed up by multi-instrumentalist Dave Pearson, an English musician currently residing in Hungary. In 2011 Pearson met Budapest based drummer Zsolt Gal\u00e1ntai through Facebook and the two decided to meet and see if any musical magic was possible. Pearson was so impressed with Gal\u00e1ntai\u2019s ability to play his music that he came up with the idea of creating Berlin School music with the addition of real drums and guitar, and, as Pearson describes, \u201cstrange time signatures to boot\u201d. The time signatures used, very few in 4\/4, are the inspiration for the title of these two albums. Pearson set various click tracks, encouraged Gal\u00e1ntai to solo, and recorded it all. They ended up with a variety of \u201csequence-locked\u201d drum sessions, and Pearson feels that Gal\u00e1ntai in a way composed each of the tracks on <em>Signatures<\/em> because the music was built around his drumming. <em>Signatures I<\/em> and <em>II<\/em> are fully 70 minutes of music each and separated by what Pearson considers the lighter and darker tracks. So there you have a little insight into how the albums came together.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">So Signatures I was the \u201clighter\u201d album. Signatures II opens with Strangeness In 13, which has a piano melody that gives it a Gothic flavor, backed by orchestral Melloton-ish keys, beautiful emotive guitar licks and steady drumming. Goodbye, Moszkva T\u00e9r is a cool grooving space rocker with fiery guitar soloing throughout. The drums, keys and sequenced patterns jam along steadily while the guitar trips along, and all having to dodge meteor shower space electronics. Floor Zero features a cool and strange combination of symphonic, spaced out Prog and electro-robotic rock, along with ripping cosmic jazz-fusion guitar fills. We\u2019re deep into Prog territory on Commution, with heavy guitar driven rock that sounds like Steve Hackett\u2019s early solo albums, plus a dash of Adrian Belew tossed into the licks. The music is continually shifting gears, transitioning to ominously quiet Gothic piano interludes, tickling-the-ivories jazzy swing segments, and Keith Emerson styled keys, always returning to the main high powered theme. LOTS happening on this track! High intensity Space-Prog is the order of the day on Forgotten Memory, with buzzing and whirring electronic waves, multiple layers of keyboards, and spaced out guitar licks. Smeem starts off as a cool combination of darkly intense bass\/drum rhythms and ambient guitar exploration. Then the guitar does a 180 and veers into smoldering Bluesy rocking, soon adding distinctly Rick Wright flavored keys, and now we\u2019re in a Pink Floyd realm with freaky electronics and rhythms like you\u2019ve never heard on a Pink Floyd album. The Needs Of The Many is an eerie but rocking Space-Prog piece that sounds like it could be the soundtrack theme to a sci-fi flick. And, finally, Bongo In 4 is another track with a cosmic Pink Floyd flavor, featuring Space-Blues guitar jamming over a steadily rocking rhythm section and jazzy grooving keys. Later the music veers away from the Floyd style and a violin sound takes over from the guitar for a tug-at-the heartstring melodic passage, backed by robotic keyboard rhythms and rockin\u2019 drumming.<\/p>\n\n\n\n<p class=\"has-medium-font-size\">Wow, there is so much happening on this challenging and difficult to describe 2 1\/2 hours of music. Gal\u00e1ntai\u2019s drumming often contrasts sharply with the main musical themes, making for some classic Progressive Rock rhythmic gymnastics that are a hallmark of what the Signatures sets are all about. And, musically, many disparate elements contrast and cooperate in ways that make the music stand up to repeated listens. In short, if you dig heavy doses of Space in your Prog, check these out.<\/p>\n\n\n\n<p class=\"has-medium-font-size\"><em>\u2014 Jerry Kranitz, <a rel=\"noreferrer noopener\" href=\"http:\/\/aural-innovations.com\/blog\/2013\/06\/computerchemist-signatures-i-signatures-ii-self-released-2013-cddownload\/\" target=\"_blank\">Aural Innovations<\/a>, June 10 2013<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>With the addition of the acclaimed Hungarian drummer, Zsolt Gal\u00e1ntai, formerly of the rock band &#8220;Ossian&#8221; and &#8220;Baba Yaga&#8221;, Dave Pearson has produced a work which fuses the essence of German Electronic Berlin School with Progressive Rock elements.<\/p>\n","protected":false},"author":1,"featured_media":1640,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-234","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums",""],"_links":{"self":[{"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/234","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/comments?post=234"}],"version-history":[{"count":1,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/234\/revisions"}],"predecessor-version":[{"id":1905,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/234\/revisions\/1905"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/media\/1640"}],"wp:attachment":[{"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/media?parent=234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/categories?post=234"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/computerchemist.com\/wordpress\/index.php\/wp-json\/wp\/v2\/tags?post=234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}