Artist description A lot of my music is only sketches. I believe in what is going on in the notes, not in the audiophile aspect of sound. In my music, and in my literary writings and philosophical essays I've tried to create something that has gone outside our present forms, something outside our present time and space meananderings. For this promethean dream or delusion I've had to pay the price, almost never being sure of a level of quality, often having ambivalence about the overall artistry of my work. Because most except the very best in the arts create music that really does differ that much from other musics. You can see this effect better historically than by looking at the present. I do believe that the early 20th century was a landmark era, with artists like the Dadaists and others creating a blank slate of a type. But then essentially the arts went in similar directions again, locked in new patterns overall, sometimes having zero to do with the intent of the love of the new, other times taking up again the historical strain of western civilization, sometimes taking more of a cue from Eastern countries arts. In my music I try to retain the pleasant but also start from the tradition of Dada and essentially say, "what would a developed culture's music be like, a culture that hasn't fallen victim to the pretence of being a modern serious composer?"

Music Style modern experimental classical

Musical Influences Erik Satie Phillip Glass J.S. Bach Tangerine Dream Nigel Ayers

Similar Artists Erik Satie Phillip Glass J.S. Bach Tangerine Dream

Artist History I am a writer and experimental composer influenced by the French Surrealists In my music, and in my literary writings and philosophical essays I've tried to create something that has gone outside our present forms, something outside our present time and space meananderings.

Instruments Various keyboard instruments

Albums Too many to list here.

Press Reviews "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). 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.

Location Seattle, WA - USA

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