{"id":2092,"date":"1994-05-27T22:01:04","date_gmt":"1994-05-28T03:01:04","guid":{"rendered":"https:\/\/stevetibbetts.com\/?page_id=2092"},"modified":"2022-06-06T22:05:56","modified_gmt":"2022-06-07T03:05:56","slug":"downbeat-may-1994","status":"publish","type":"post","link":"https:\/\/stevetibbetts.com\/downbeat-may-1994\/","title":{"rendered":"The Fall of Us All–Downbeat"},"content":{"rendered":"\n\n\t

\"The<\/a>An extremist in the best sense, guitarist Steve Tibbetts disdains comfortable middle ground. At peace, he creates delicate acoustic structures. \u00a0Fired up, he unleashes an onslaught of electric rage backed with thunderous percus\u00adsion from partner Marc Anderson. \u00a0The Fall Of Us All<\/em>\u00a0ranks with his best and wildest work (alongside Yr<\/em> and Exploded View<\/em>), because it smoothly reconciles Tibbetts’ volatile mood swings<\/a> with his developing interest in the music of Indonesia and Tibet.<\/p>\n

“Dzogchen Punks” and the aptly titled “Hell\u00adbound Train” use representative motives, as steady drum patterns connect open spaces echoing distant chimes and gongs to the anguished yowls of Tibbetts’ electric guitar, culminating in a cathartic percussive assault. \u00a0Although Tibbetts utilizes wordless vocals and synthesizer to smooth rough edges of his meandering compositions, the core of his mu\u00adsic remains guitar with drums. \u00a0The real depar\u00adture comes with the expanded use of poly\u00adrhythms and the new ferocity of Anderson’s drumming, possibly related to Tibbetts’ studies in Tibet and Bali<\/a>. \u00a0The guitarist’s ab\u00adsorption of those styles is more evident on the detailed, but less intense acoustic tracks that make up the second half of the album, like “All For Nothing” and “Travel Alone.”<\/p>\n

Tibbetts hints that The Fall Of Us All con\u00adcludes a phase of his work. \u00a0If so, it’s the clearest, most concentrated iteration of his ideas to date.<\/p>\n

-Jon Andrews<\/p>\n\n","protected":false},"excerpt":{"rendered":"

“The Fall Of Us All ranks with his best and wildest work (alongside Yr and Exploded View), because it smoothly reconciles Tibbetts’ volatile mood swings with his developing interest in the music of Indonesia and Tibet.”<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[81],"tags":[12,14,16,22,23,91,28,33,45,46,60,90],"acf":[],"yoast_head":"\nThe Fall of Us All--Downbeat · Steve Tibbetts<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/stevetibbetts.com\/downbeat-may-1994\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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