# The Surrealist as The Hero



## regenmusic (Oct 23, 2014)

http://www.regenerativemusic.net/Glass_Electrode_Solar_System/09_R.S._Pearson_Glass_Electrode_Solar_System_The_Surrealist_as_The_Hero.mp3


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## dzc4627 (Apr 23, 2015)

It sounds to me like a jumbled mess of discordant noise with the occasional redeeming moment of "Aha that sounds rather cool and atmospheric doesn't it." 

What were you going for? Anything I should know to appreciate it more? What at all does that title have to do with the music?


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## regenmusic (Oct 23, 2014)

If someone as rude as you doesn't like it, that must mean it's good.

Praise for R.S. Pearson's Music

"If you're a fan of hypnotic modality and mesmerizing synthesized sound, R.S. Pearson's music is for you! Each piece is an exploration of intuition, development, and transition." Amy Denio, Composer.

"I think 'Large Cortical Areas' is your best piece I have heard so far, and an outstanding (as well as a solid candidate for "Classic") one to boot. For me, the piece excels where most rhythmic yet drummer/drum machine-less electronic music flounders. The steady though off-kilter rhythm keeps the listener listening and doesn't seem too keyboardy, by which I mean keys triggering sounds with identical attacks, sustains and decays, the great bane of poorly programmed synths (pianos of course have far more variety). Christopher DeLaurenti (Composer).

"One evening, while Pearson and I were watching animated films by Larry Jordan, I turned the sound off and replaced it with random selections of Pearson's recorded work. It was uncanny how perfectly the music fit with the films. I knew they would, because from the first moment I heard Pearson's music, I thought of Jordan's films." Dale Lloyd (Composer, Lucid, After the Flood, Field Recording artist).

"It is very rare that manipulation and control of synthesized sound has the depth and vibrancy that I hear in R.S. Pearson's music. His recent live sets have been a real treat and I sincerely look forward to his new CD releases." Vance Galloway (Composer, Engineer, Member of Elders of Zion).

Robert (R.S.) Pearson is a Seattle-based writer, philosopher and composer who has released a number of independent cassettes starting with Joseph Cornell's Television Show (1984), when he was part of Seattle's industrial scene.

After abstract recordings such as The Manhattan of Heaven (1985) and Cartoon Wheel (1985), he abandoned music for a while. When he returned, he focused on melodic electronic improvisation: Silver Sister Hippie Fields (Regenerative, 2000), Eleven London Bridges (Regenerative, 2000), External Omnipotent Moments (2001), Enchantment Born of Grace (2002), Antiquity (Oars, 2002), Purple Martin Morning (2003).

Antiquity (Oars, 2002) contains instrumental Brian Eno-esque vignettes. Pearson employs a "watery" style that creates a neutral atmosphere. The best moments (such as World's Tiled Fountain and Figuring Out A Mixed Blessing) are fibrillating structures that indulge in geometric patterns.

Piero Scaruffi

http://www.scaruffi.com/avant/pearson.html

From a R. S. Pearson -- NAKED INDEX review: Pearson comes from a musical school of thought i'm increasingly inclined to think of as "experimental exotica": he's too skittery and "out there" for traditional listeners, but not quite academic enough for classical experimentalism or defiantly antimelodic enough for free jazz. I hear a lot of bands lately onto this wave o' sound minus all the baggage (particularly on Public Eyesore), and they all seem to be more interested in the sounds they're making and the mutant methods of making them than they are about wiggly li'l details like structure, togetherness, and the like. What you end up with is largely free-form, chaotic explorations in wild sound that Ornette Coleman would get behind. Pearson isn't quite that free-form, but he does share the same fascination for employing odd sounds and mystically-tuned instruments for the building blocks of his sound. The subsequent songs are largely like kinetic sound sculptures set in motion, going heavy on the vibraphone (???) sounds -- lots of tweeting high end, that's for sure. Mostly they sound like those old fifties exotica albums -- you know, the records that came with stereos "for demonstration purposes" and the ones with the half-naked chicks on the cover with titles like ON THE ZULU LAKES OF PARADISE: A SAMPLER OF WEST INDIAN TIMPANI INSTRUMENTALS -- only run through lots of modern efx and subjected to postmodernist manhandling. Regardless of the origin, these are swell sounds and i like them. Pearson is on to something here.

Speaking of timpani, that just might be what's playing so insistently on "Poundthoughts," or maybe bongos, sounding like the truly boss instrumental theme to a forgotten fifties jungle serial. Moments like this make you realize that however Pearson got into the funny-noise-making business, it probably wasn't from reading about it in textbooks. There's a really nice drone happening in "The Night Boat" -- the off-kilter percussion behind it is so unobtrusive that you might be forgiven for missing it -- and the Floating Toy Pianos of Doom make a reapparance on "After the Quench," but mainly the songs are fixated most of the time more on the exotica tones and tinky sounds than they are on evolving structures. The grotesque electric organ on "Again We End Time" is totally a boss move, though. Still, there's plenty of action happening here -- well worth checking out...." 
From the "Dead Angel" Experimental music webzine, regarding a CD of music from 1985 that Pearson just re-released in 2001.

One of Pearson's works was selected for Ian Edgewater's anniversary show, during which Edgewater, who plays exclusively excellent modern classical and experimental music, specially picked 100 short works.

Pearson's music has also been played on other modern classical radio programs, including Kalvos and Damians.

Intriguing daring music!!
michael palmieri

Enjoyed the listen, Robert. Thanks for your friendship. Drop by my space anytime.
Pat Terry
(Famous Christian Songwriter/Singer)

Hi Robert, thank you for your appreciation of our music... we do appreciate yours as well, it's very trippy and intelligent. Keep in touch! Cheers, ZS.
ZEN STATE
(Son of Jon Anderson/Singer of Yes/Jon and Vangelis)

My favorite is Their lovely ripples.
The others are nice too. Smooth sounds.
Antonius

bonjour cher robert
enchantée de faire ta connaissance!
your music is very special, i like it - it is transporting me in a mystic world...
good luck, bonne chance et à bientôt
bisouxx
myriam

Awesome sound!!! Cheers!
Sintetizador

Very cool tunes. 
Timothy Michael Powell

Fascinating soundscapes. 
Richard L. Ortiz, Composer

I really like "Glass Electrode" and "Their Lovely Ripples". Cool electronics - keep up the good work!
Philip Rice

Some very nice and trippy stuff you got here.
Half Past Four
aka Igor,

Really enjoyed your music!!
Zoe

Great work! Thanks for getting in touch!
Blind Divine

Its really nice to get acquainted with the soothing yet sometimes distressing sound of yours. Your music would make a sensational soundtrack for some of the good experimental movies. 
pinar

Great music! Keep at it. 
Bruce Geller

Love the music. It's very original and unique!
Skunkworks

Your works sound really interesting! I would like to hear more. =0)
Nadia

It sounds great!
Lionel Ziblat

Your music is very interesting! I enjoyed the sounds.
Amit Poznansky

Nice music. 
Montana Cleveland

I haven't given you a review yet on your marvelous creative output.
Your music has a nostalgic touch in it that is very appealling. It's hard to believe that electronic music is
around a century or so old. Your creative atmospheres are spiritual and
other worldly. Perhaps even alien. I'll be happy to send you some of my
mp3s if you ever want to hear acoustic piano. Hard to believe that
pianos have been around since 1709 or so ... guess I'm an old fashioned piano geek! Thanks for your friendship and all the best. Keep creating - this is the ultimate bliss.

Greeting from Boulder, Colorado. Excellent music here on your page! I'm very interested in your books, also - fascinating topics.

Paul Hemb
http://www.paulhembree.com

Thank you for your great contribution to the arts. It is appreciated.
Terry Daun

I love your music. Wishing you success, wellbeing and happiness.

Melody
mamamatrix

I LOVE YOUR MUSIC!
YOU'RE A FANTASTIC KEYBOARDIST!
KEEP UP THE GOOD WORK MY COOL FRIEND!
MAX

Marvelous textures and tracks! Thanks for the request...
William S.

Your music is seriously experimental!
Rory Ridl

Great sounds!

Most Holy.

Beautiful sounds! Not superficial at all. I get a sense it comes from somewhere deep inside you. You really do need to hook up with a film-maker.
Bill Tucker

très beau voyage...
lafolie

I like your music, its really interesting how you use sounds!
itsritas

Great sound chemistry here!
DonnaFran

V interesting stuff 
Tom Byrne

Thank you for your beautiful music
Stefano Tore

a pleasure to hear your work, I like it,
Franck Ba

You have a very unique style that has definitely caught my attention. Very good stuff. Happy Holidays!

Claudio M

Thanks for the add. Your music is really nice. Take care.
Ro

Eric Seve

You have such a unique and wonderful sound, and I've enjoyed listening very much. 
Eric

Your stuff is really great!
Alice

Strange modulations for nice result !
curious but good !
ARNOLD RA..

Great sound, Robert.
Shunya


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## dzc4627 (Apr 23, 2015)

Wow, look at all those people I don't care about

If only the nicest of praise could turn drivel into anything but.


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## Jacob Brooks (Feb 21, 2017)

That was an extremely uninteresting piece. Though this thread was quite dramatic. I don't see how it has anything to do with classical music and though I consider tradition classical music as having a far-wider depth of expression, I still understand when an experimental-sort-of piece has merit. Flood by Boris does something similar to this but about 100x more successfully in Flood pt. 1. In addition, something like early Ecobondage, an early work by Merzbow, captures a whole lot more than this in a similar style. It just isn't very creative.

In addition, that criticism by Scaruffi in particular (probably the worst music reviewer I've ever had the poor sap's opportunity to read) is hilarious. It is the same trap he always falls in of evaluating music only based on context and category, rather than the inherent merit of the music itself. The only redeeming quality of this piece was perhaps that it is so plain that it is easy to fall asleep to. Sorry.


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## Guest (Jul 8, 2017)

> "If you're a fan of hypnotic modality and mesmerizing synthesized sound, R.S. Pearson's music is for you! Each piece is an exploration of intuition, development, and transition."


But, if you're not...


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