Back in 2001, Eyvind Kang recorded an absolutely wonderful album on Sun City Girls' Abduction imprint (Live Low To The Earth In The Iron Age), which I naturally missed because everything related to Sun City Girls was maddeningly difficult to find in those days. Also, I was not at all familiar with Kang back then, though he has long since become a reliably ubiquitous presence in the experimental music scene. Sadly, Live Low is still woefully out-of-print, but Kang has finally recorded its follow-up anyway. Plainlight is quite a bit different from the drone- and shoegaze-influenced post-rock of its predecessor though, as the only real consistent thread between the two is a vague aesthetic of rustic psychedelia. Instead, the two albums feel like very different stages of the same long journey, which is a large part of why Plainlight took so long to appear: Kang did not want to repeat himself and patiently waited until the next stage of this project's natural evolution finally revealed itself. If Live Low To The Earth can be said to resemble a slow, subtly hallucinatory journey across a vast, open plain, the more structured and ritualistic Plainlight is a glimpse inside an ancient and remote temple nestled in the mountains.