Music From The Blackboard Jungle
Some Brighter Stars (1982) (reissued in
Migration (1986) (reissued with Wolf in
2013 with bonus tracks)
The Wolf At The Ruins (1989) (reissued
with Migration in 2013 with bonus tracks)
World Diary (1992)
The Blind Messenger (1997)
of Memory EP (2012)
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)
ANIMISM (Projekt 274):
"Forrest Fang returns to the magic realist
blend of electronics and non-Western instruments that made mid-nineties releases
such as The Blind Messenger and Folklore rich, abiding classics. One
Guide: " Much of the album suggests,
in an abstract yet still striking way, the world of Hayao Miyazaki's films,
a sense of flight -- apparent from the start with the song title "Tailing
Wind" -- and majestic contemplation of the power of the natural world.
Heady stuff, but Fang's desire throughout Animism is one of engagement,
where quietly ominous two-note bass parts, sweet electronic textured float,
bowed and struck instruments, and much more suggest a constant
"The music of Forrest Fang allows for
a vast range of expression. Across its eight tracks his album Animism (60'26")
produces as many distinctive and engulfing soundworlds. Performing on
synthesizers, violins, mandolin, cane flute and various other ethnic and
percussion instruments Fang realizes a reverb enshrouded music of acoustic
and electronic origins...Animism resides in a unique artistic realm also
occupied by works from the likes of Robert Rich, David Parsons and Terra
Ambient. This music may be described as World-Ambient or
Machinery blog (Richard
UNBOUND (Projekt 257):
"Theres a great range of emotion
at play, mood changes that come on like unnoticed shifts in wind direction.
Unbound is a dynamically meditative work, which is to say that while Fangs
cloudy drones are absolutely relaxing, there is constantly so much going
on, in a very good way, that it deserves as much attention as you can manage
to give it...This is a must-loop disc, and a superb low-volume listen.
Fangs structures seem to adapt to volume, or to subtly change
in the way they enter and affect the space. A gorgeous work thats
especially appealing to drone and minimalist fans."
Immersion: "a beautiful kaleidoscope
of soft shimmering textures and imaginary sound paintings which will be
appreciated by listeners of slow lane music."
Guide: "Forrest Fang's third album
on Projekt continues in the elegantly meditative vein of his previous two
efforts: his calm, precise way around predominantly electronic arrangements
suggest something that never quite was, but still should be."
Deposit Know Return blog.
PHANTOMS (Projekt 230):
Reviews from Star's End, Hypnagogue, Textura, All
Music Guide, Eurock, Sonic Curiosity, Sonomu, Sonic Immersion, Gothtronic
(July 2010): "the violins, eastern
strings and percussion [are brought] to the fore, though never overpowering
the overall textural approach of the sonic fabric. In a word
TONES FOR LAMONTE (Hypnos Secret Sounds
e/i Magazine (2008): "These beams of silvery
sonic light are absolute gems."
White_Line Blog (2008): "Strings are grazed,
tones are warm, rich and resonant, the atmospheres serene and
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
GONGLAND (Projekt 103):
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)
Alternative Press (Oct. 1997) - "a genuine strangeness
and originality prevail...it's all quite fresh and entertaining, and sometimes
(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."
Music Guide: "relaxing, thought provoking
and ideal for late at night."
AMP (Summer 1997) - " an earthy presence that resonates
long after the music is over..."
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):
"Fang's story-like suites are full of changes
and exotic turns that always have an underpinning of melodicism and atmosphere.
Fang creat[es] his own transglobal orchestra and post-tribal
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):
Guide: "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
THE WOLF AT THE RUINS (Ominous Thud
"a masterpiece of slow development and
subtle beauty..." (review of the "Wolf At The Ruins/Migration" 2013
"hypnotic percussion, space electronica,
and a beautiful array of combined instrumentation." (review of the "Wolf
At The Ruins/Migration" 2013 reissue)
Music Guide: "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
The Billboard Guide to Progressive Music ("This
recording...applies his compositional stylings to the genre of space music,
with exceptional results.")
Last Updated: February 1,