Music From The Blackboard Jungle
Some Brighter Stars (1982)
The Wolf At The Ruins (1989)
World Diary (1992)
The Blind Messenger (1997)
As "Sans Serif" (drone-based
Tones for LaMonte (2008)
As "Spirit Oscillator"
Aquarium EP (1999)
Stutter & Tilt (2002) (unreleased)
Unsettled Scores (Cuneiform artists cover other
Cuneiform artists)("Scene of the Madmen") (1995)
ambient.01@hyperreal ("Harmonia" (Forrest Fang),
"Boom" (Spirit Oscillator") (2000)
ambient.02@hyperreal ("Something in the Moonlight"
(Forrest Fang remix), "Half Life of a Long Memory" (Stephen Phillips
Bi Bim Bap (Foundry compilation)
("Filling the Bowl") (2004)
Robert Rich - "Propagation"
- "Seven Veils"
- "Temple of the Invisible"
- "Ylang " (2010)
Amoeba - "Pivot"
Carl Weingarten - "Blue Faith"
Barry Cleveland - "Hologramatron"
Forrest Fang/Carl Weingarten - Invisibility
Forrest Fang/Par Example - "Surface Tension"
Chaksam-Pa (Tashi Dhondup/Tsering Wongmo)
PHANTOMS (Projekt 230):
Reviews from Star's End, Hypnagogue, Textura, All Music Guide, Eurock,
Sonic Curiosity, Sonomu, Sonic Immersion, Gothtronic on
TONES FOR LAMONTE (Hypnos Secret Sounds
e/i Magazine (2008): "These beams of silvery sonic light are absolute
White_Line Blog (2008): "Strings are grazed, tones are warm, rich
and resonant, the atmospheres serene and enchanting."
INVISIBILITY (The Foundry FOU26):
Reviews from Star's End, Electroambient Space, The Wire, Dusted, Bill
Binkelman, Ampersand, e/i and Bert Strolenberg on
"Invisibility" review page.
Guitar Player (July 2007): "World-fusion composers Fang and Weingarten
return to their pure ambient roots on this lovely and intriguing
GONGLAND (Projekt 103):
Reviews from All Music Guide, Alternative Press, Alternate Music Press,
Napra Magazine and Barnes & Noble on
Sonic Curiosity review of "The Blind Messenger"
(1998) (click on image for larger view)
(Thanks to Matt for the very cool review
THE BLIND MESSENGER (Cuneiform Rune 98) (w/guest
artists: Kit Watkins, Carl Weingarten):
(Winter/Spring 1998) - "The music, built upon an electronic foundation, is
unified, very well-conceived, and beautifully executed. While one might draw
comparisons with recent Steve Roach and Robert Rich, Fang's music is truly
separate, and one which asserts the composer's wide-ranging knowledge of
Howarth's Sonic Curiosity (1998)
Press (Oct. 1997) - "a genuine strangeness and originality prevail...it's
all quite fresh and entertaining, and sometimes even profound."
(Summer 1997) - "esoteric...revealing a depth all too uncommon in the
field of electronic music...A truly fascinating and mysterious album that
reveals itself over several listens, pockets of music that awaken on different
levels of consciousness. Excellent throughout."
(Summer 1997) - " an earthy presence that resonates long after the music
Hollow Ear (Summer 1997) - "There are those
musicians who have always travelled outside of their own culture, gathered
the music of the world into their bag and made something unique of it...Fang
has been one of those rootless cosmopolitans...Fang has a sonic depth (and
a note of whimsy) that makes what could be ponderous introspection into a
human aural experience."
Margen (Verano 1997) - "Estamos ante un nuevo
capitulo en la carrera de este multi-instrumentista especializado en soprendernos
y descolocarnos con cada nuevo disco."
FOLKLORE (Cuneiform Rune 68) (w/guest artists:
Steve Roach, Robert Rich, Chinese classical musicians Zhang Yan and Liu-Ti
Chao, Balinese composer I Wayan Sujana, and Tibetan folk musicians Tashi
Dhondup and Tsering Wongmo):
WORLD DIARY (Ominous Thud OT005) (w/guest
artists: Chinese classical musicians Zhang Yan, Liu-Ti Chao and Ting-Yi Lin,
and Tibetan folk musicians Tashi Dhondup and Tsering Wongmo):
THE WOLF AT THE RUINS (Ominous Thud
The Billboard Guide to Progressive Music ("This
recording...applies his compositional stylings to the genre of space music,
with exceptional results.")
Last Updated: June 18,