Posts Tagged ‘Tibetan Music’
Lotus Festival review
“Deep stirrings I can’t even begin to discuss here were triggered by the sound of Chö, and from the response I felt from the audience, it wasn’t just happening to me.”
Read MoreOttawa Citizen
American guitarist and soundscape artist Steve Tibbetts was in the middle of his first tour in support of the album Chö last November, and things seemed to be going pretty smoothly. Until he lost one of the Tibetan nuns.
Read MoreChö Part 1: Intro
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö Part 2: Kangyi Tengi
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö Part 5: Om Pana Phem
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö Part 6: Tsog-lu
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö Part 7: Kyema Mimin
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö Part 8: Mönlam, Tal, and end
Recorded in New York City at the Knitting Factory, August 1999 · Chöying Drolma, Lodro, Sherab: voice and percussion; Steve Tibbetts: guitar and samples; Marc Anderson: percussion and samples
Read MoreChö–Isthmus Review, 11/20/98
“There was no encore, and, frankly, none was needed. The window onto bliss that Tibbetts, Anderson and the nuns offered was treat enough.”
Read MoreChö–Minneapolis Star-Tribune 1998
“The lead singer sits at a low table on the garage-studio floor. Wrapped in a purple robe, she sings with her nearly shaved head bowed slightly, eyes closed, hands folded in her lap. Her face shows nothing but calm. Her lips barely move, and at times it’s difficult to tell whether she is singing or it’s a recording that’s being played back.”
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