Gongland

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.