{"id":28,"date":"2002-06-18T09:21:53","date_gmt":"2002-06-18T14:21:53","guid":{"rendered":"https:\/\/stevetibbetts.com\/?p=28"},"modified":"2022-05-26T16:45:20","modified_gmt":"2022-05-26T21:45:20","slug":"a-man-about-a-horse","status":"publish","type":"post","link":"https:\/\/stevetibbetts.com\/a-man-about-a-horse\/","title":{"rendered":"A Man About a Horse"},"content":{"rendered":"\n\n\t

\n\t\t\t\tDesign is a funny word\n\t\t\t<\/h1>\n\t\t\t

Steve Tibbetts<\/p>\t\n\t\t\t\t\n\t\t\t\t\"\"\n\t\t\t\t\t\t<\/a>\n\t

Steve Tibbetts’ guitar speaks in Eastern tongues: the acoustic liquid-raga curls of “Lupra”; the watery electric suggestion of Tibetan monks deep in murmured prayer in “Black Temple”; the icy distortion whipping through “Glass Everywhere.” A Minnesota instrumentalist whose pursuit of the transcendent in feedback and non-Western scales has taken him to Nepal and Indonesia and encompasses ten albums since 1977, Tibbetts also loves to rock: He recorded much of the searing guitar on “A Man About A Horse” in a single night, over frenetic Balinese drum samples colored and doubled by percussionists Marc Anderson and Marcus Wise. And Tibbetts’ white-hot screams and dives in “Chandoha” combine echoes of Jimi Hendrix and Jimmy Page, wailing as one in the snowy peaks of Kashmir. –Rolling Stone<\/em><\/p>\n

ECM bio<\/a><\/p>\n

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