A perihelion is the point at which an orbiting planet is closest to its sun. Veteran Bay Area ambient musician Forrest Fang's latest, Perihelion, takes rewarding risks by incorporating unusual microtonal tunings into his personal blend of electroacoustic minimalism, space music, and world fusion. Unlike Icarus, these risks do not crash and burn into the sun. Instead, they help unify Fang's Eastern and Western virtual musical worlds with common harmonies that create their own lingua franca.
Fang's new collection draws especially deeply upon his musical influences from progressive music of the 70s to the traditional musics of Asia. "This album took nearly two years to complete," says Fang. "I was seeking a variety of moods and instrumentation that unfolds within an unified arc like a good novel. I also wanted each of the pieces to develop organically — which, in many cases, meant an extended compositional period of trial and error."
The album opens with “Harmonic Drift,” an electronic overture with thick billowing tones and textures that float across the sonic field while at the same time settling in at a relaxed pace. “Perihelion,” the title track, follows — a kinetic and dynamic work with sequencers in motion hovering at the edge of stability.
The mood changes subtly with “Seraphinianus,” a musical tribute to Luigi Serafini's illustrated encyclopedia from a fantastical imaginary world, Codex Seraphinianus. In this atmospheric piece with a minimalist flair, a sampled balafon rubs shoulders with echoing synthesizers, hypnotic piano, and a simulated rhythm box. Fang's soundscape evolves further with “Dream of Deep Earth,” descending into a cavern of quiet thought and reflection. Here, gentle spiraling synthesizers are complemented by the elongated tones of Fang's processed violins.
These contemplative moments are followed by the playful “Off-Lining,” which returns the prevailing mood back into the light. The bouncy and unusually tuned synthesizers are reminiscent of Aphex Twin's low-key electronic miniatures of the 90s. The momentum shift continues with “Pik Pik and Redcone,” a polyrhythmic folk-influenced piece with a virtual ensemble of Southeast Asian and African instruments.
A brief detour, “Little Zephyr,” softens the mood with cascading sequencers and a lyrical melody suggestive of flight and reverie. The album continues to a dramatic peak with the mysterious extended piece, “The Serpent's Tail.” Guest musician Guy Segers, perhaps best known for his groundbreaking work with progressive rock groups Univers Zero and Present, anchors this piece with his muscular electric bass, even adding a melodic interlude towards its end. Clouds of processed synthesizer and strings are supported by rhythmic Indonesian drums, Chinese zither (gu-zheng), and a snaking solo violin playing a melody influenced by the music of India.
“Vessels of a Minor Deity” returns us once again to calmer waters, its percussive electronics and treatments evoking the exotic microtonal textures of Indonesian Gamelan music. The album closes with “Echo in an Open Field,” a piece that gradually eases the listener back to terra firma with reassuring layers of consonant electronic ambience and distant bells.
Perihelion is a trip to the inner flame of Fang's universe. 
Forrest Fang | Perihelion | CD