Well this is interesting; I'm usually expecting to see Marvin Allen's name in conjunction with Craig Padilla as those two have collaborated on projects recently but here's Craig by his lonesome, although the music on 'Discovery of Meaning' sounds anything but lonesome. Described as "A personal and contemplative record," 'Discovery of Meaning' paints sounds across Padilla's career; elements of electronica, trance, new age, drone, ambient and cosmic space music blend into something unique and spellbinding, though Padilla's environment is also a significant influence. He draws from modular synth explorations in Oregon, serene naturescapes at his Cottonwood, California home, and the hovering anxieties of the 2020 lockdown.

The album is seven tracks in 71 minutes, beginning with "Perception Stream," a 12.5 minute track that comes together slowly but once it gets going, watch out! The off-kilter rave rhythm might be unsettling at first, but it isn't long before the track builds sequencer-driven momentum, and gives a tip of the hat to Old School Berlin Electronics. The title track is the briefest, and also the melodically prettiest track on the album with gently plucked tones and candy-sweet backing. "Continuum" comes in two parts - the first (and shortest) part features spoken words about time by a German foreign exchange student (Paula) over a sort of cosmic background. The double-length Part 2 expands into something richer and more developed with moving sequencer lines that subtly propel the piece forward and serve as the base for some melodic improvisation. Before it's done though it all blends together losing a fair amount of its impetus.

"Adrift in Memory" is one of those transitional, laid back ambient tracks where there is sort of a lot going on, but nothing really happening. It's kind of the calm before the 20:49 magnum opus on the album, "Cottonwood," which begins very slowly and amorphously before developing into something else. It's a strange and somewhat subtle trip, but I had a hard time with the monotone eighth note repeating sequence. I think I know what the artist was striving for here, but I'm not sure he accomplished it. 1/16th notes might have been better if used in some atypical way. A little more than halfway through it sounds like the track should fade away, but it doesn't, morphing into various bands and heavier synths sans rhythm, until the last 3 or 4 minutes that brings in that 16th note sequencer that might have been put to better use 10-15 minutes earlier. Somewhat disappointing. It all ends with a "Festive Awakening," a twelve minute track with a gently rolling 16th note sequencer that builds in layers and intensity. Here I'm reminded of vintage Tangerine Dream more than anything else, which is a really good thing. This is positive, happy, cosmic dancing music that is a great way to end this album. A bit less than spectacular, a bit more than excellent.