Forrest Fang Albums (7)
What The Critics Say
Forrest Fang's run of exquisite releases continued in 2009 with Phantoms, showcasing his talent for open-ended ambient compositions that always emphasize an enthralling sonic beauty even at their most strange and alien-sounding. The arcing loops of sound that slide across the core tracks of the opening "Distant Fires" set the tone from the start, suggestive of the titular image in its sense of something captivating but far out of easy reach. Fang's list of instruments from "non-Western" sources, as he wryly puts it in the liner notes, further sets his work in an arena beyond easy classification -- the plucked strings and echo on "The Great Wheel" suggest deep, impossible to sense mysteries, while what sounds like strange bird calls makes "Slow Rise" an all the more curious, unsettled composition. The song that puts all these elements together at their most involved is unsurprisingly the longest -- at 23 minutes, "The Hallucinations of Hung Tung" gives Fang the opportunity to experiment with a wide variety of percussion while tones and electronic sighs and echoes shape the results into a breathtaking collage of serene yet always active beauty. ~ Ned Raggett, All Music Guide
What The Critics Say
Returning to the ambient explorations shown on earlier albums like The Wolf at the Ruins, on Gongland, Fang, to quote his liner notes, explores his "recent and continuing fascination with Indonesian gamelan music, fractals, alternate tunings, and esoteric algorithms." It's a combination sure to bemuse many -- and those purists who favor their gamelan straight up will likely wish there was far less synth orchestration and sonic wash in the mix. Those who approach Gongland on its own terms will be well rewarded, though, showing that Fang makes a perfect labelmate for such spirits as Vidna Obmana and Steve Roach. His range of instrument choices continues to display true variety -- credited instruments include chin-chin, Marxolin, and Japanese palm harp, not to mention the specific "algorithms" mentioned previously. The basic combination of each song can be described as a "traditional" instrument providing a main countermelody or contrast to the synthesized flow of the overall piece -- a seemingly simple formula, but given the choices of music to work with, more complex and variable than might be thought. "4 A.M.," for instance, where the plucking sounds of the chin-chin cut just sharply enough through the gentle tones and atmospheres appropriate for the time in question, functions as both straight ambient background and a striking combination of old and new. The rolling bell percussion sounds of gamelan unsurprisingly crop up throughout -- one song isn't called "Chaos Gamelan" for nothing -- which with Fang's usual level of treatment and mix take on new shades and shapes in the overall mix. Two pieces, "Sonosphere" and "Sierpinski Palm," are especially fine in showing Fang's ability at creating longer numbers that aren't boring or repetitious, finding new approaches as they go. Good for late night relaxation or close attention both. ~ Ned Raggett, All Music Guide
'The Blind Messenger'
Release Date 9/16/1997
Tracks 8
Label Cuneiform
See Album Tracklist and Review
What The Critics Say
Chinese-American Fang employs violin, "electronics, " a grab-bag of ethnic percussion and more on this solo release. Carl Weitgarten makes a brief appearance putting the E-bow to a Dobro and Kit Watkins plays piano on one track. Strongly rooted in jazz improvisation, Americana stringed instruments and non-Western classical music Fang is an addendum to the musical atlas. Some composers use fractal algorithms for arrangements and that's an excuse for us to appreciate the music only intellectually. With Forrest Fang the inviting compositions feel much too warm and organic for us to believe they were actually forged in mathematics. This can be credited to the dizzying array of real instruments and Fang's own acute understanding of the creation of music as cultural expression. The Blind Messenger is relaxing, thought provoking and ideal for late at night. ~ Tom Schulte, All Music Guide
What The Critics Say
Forrest Fang is a veteran ambient musician. Folklore is one of his landmark releases. That term -- "landmark release" -- is used frequently to describe Fang's releases. He has four or five releases and they are all landmarks of some sort or another. His signature style is to blend the folk music of his Chinese heritage with modern and electronic ambience. He combines traditional ethnic instruments with modern electronic instruments and techniques. The results are very deliberate and intricate atmospheres, some with edges and some smooth. Fang defines several moods with his melodies. His soundscapes are always descriptive. This is unique ambience. It compares favorably to the music of Thom Brennan, Blasdel & Uehara, and Stephan Baer. ~ Jim Brenholts, All Music Guide
What The Critics Say
Forrest Fang previously released The Wolf at the Ruins, an intriguing mixture of styles, from eerie Eno-esque terrain to multifaceted ethnic colorings. Now Fang has created the fascinating World Diary, a further exploration of non-Western influences, drawing on his Chinese heritage. Forrest is joined on a couple of tracks by musicians from Tibet and China, while using instruments from Bali, Kenya, Syria, Bolivia and the Far East. From ominous rumbles to rich drones, Fang builds fertile backdrops for his conveyance of the dark beauty and focused intensity at the heart of his intriguing compositions. ~ Backroads Music/Heartbeats, All Music Guide
'The Wolf at the Ruins'
Release Date 1/1/1989
Tracks 7
Label Ominous Thud
See Album Tracklist and Review
What The Critics Say
Forrest Fang is a Chinese-American musician with a strong interest in non-Western music, primarily the music of his Chinese ancestors, but he mixes and matches different ethnic styles and instruments with gay abandon. Even the most traditionally Chinese track, "The Windmill," mixes the Chinese zither with the Japanese palm harp, African balafon, and the Western mandola and synthesizer. The Chinese zither, or gu-zheng (also known as the cheng) is the more-complex forerunner of the better-known Japanese koto, and its elegant tones also grace the multi-layered "The Luminous Crowd." Also featured is the bandurria, a large South American guitar-like instrument that Fang plays in an unorthodox way with hammers, producing a resonant dulcimer sound. He is not afraid to use dramatic tension in his music and, as befits his marvelously named Ominous Thud record label, there is an eerie quality to much of his music, especially on the 24-minute "An Amulet and a Travelogue." Other tracks -- notably "Amelia," with its layered electric guitar, and the all-electronic "Silent Fields" -- move into more familiar Eno-esque terrain. The Wolf at the Ruins is an intriguing album that freely mixes space music with multifaceted ethnic colorings in a way that is sure to appeal to connoisseurs of experimental global music. ~ Backroads Music/Heartbeats, All Music Guide
