Last Train To Lhasa (Import) (CD) ~ Banco De Gaia Cover Art

Last Train To Lhasa (Import) (CD)

By: Banco De Gaia

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Product Description

Track Listing

DISC 1 for Last Train To Lhasa (Import) (CD) Album By Banco De Gaia
1   Last Train To Lhasa  
2   Kuos  
3   Amber  
4   Kincajou  
5   White Paint  
6   887 (structure)  
7   Kuos (Gnomes mix)  
8   Kincajou (duck asteroid)  
9   Eagle (Small Steppa mix)  
 

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Review

Q (7/95, p.113) - 3 Stars - Good - "...blends electronic dance with the musical and cultural images of another people. Rather than just being a crude cut-and-paste raid on an invaded people....it's skillfully and attractively worked, generally managing to avoid sounding patronising or pretentious..."
Q (May 2002, p.126) - 3 out of 5 stars - "...'global techno' and 'eco-ambient'..."
Option (9-10/95, p.94) - "...cleverly integrates sequencer-driven German space rock with ethnic percussion workouts..."

Product note

Banco De Gaia includes: Toby Marks.
This is the sound of the techno-tribe, banging a drum with one hand and a mouse with the other. Toby Marks, AKA Banco de Gaia, doesn't want to work; he just wants to bang on the drum all day. Thankfully, he makes a pretty joyous noise-a full-bodied amalgam of the Orb, Loop Guru, and Transglobal Underground. Using an army of ethnic and indigenous samples (from Indian drums and chants to woodblocks, rainsticks, and Oriental shakers) and zapping them through the technological prism, Banco de Gaia creates a modern-day techno-folk music that calls up the shaman buried deep in our ancestral memory.
Of course, Marks' idea of the shaman is the contemporary electronic-music producer or the DJ. The barmy rhythms pouncing about here work at home and on the disco-floor, but their most appropriate setting would be a dancehall in Uganda. Marks' natives whip up the digital atmosphere with incendiary frenzy. From the chugging locomotive techno of "Last Train to Lhasa"' to the pan-cultural rhythmic stew of "Kincajou" and the burbling Orient-meets-the-Orb synthesizer textures of "887," LAST TRAIN TO LHASA is an intoxicating descent into primitive ritual madness.

Album Description

This is the sound of the techno-tribe, banging a drum with one hand and a mouse with the other. Toby Marks, AKA Banco de Gaia, doesn't want to work; he just wants to bang on the drum all day. Thankfully, he makes a pretty joyous noise-a full-bodied amalgam of the Orb, Loop Guru, and Transglobal Underground. Using an army of ethnic and indigenous samples (from Indian drums and chants to woodblocks, rainsticks, and Oriental shakers) and zapping them through the technological prism, Banco de Gaia creates a modern-day techno-folk music that calls up the shaman buried deep in our ancestral memory.
Of course, Marks' idea of the shaman is the contemporary electronic-music producer or the DJ. The barmy rhythms pouncing about here work at home and on the disco-floor, but their most appropriate setting would be a dancehall in Uganda. Marks' natives whip up the digital atmosphere with incendiary frenzy. From the chugging locomotive techno of "Last Train to Lhasa"' to the pan-cultural rhythmic stew of "Kincajou" and the burbling Orient-meets-the-Orb synthesizer textures of "887", LAST TRAIN TO LHASA is an intoxicating descent into primitive ritual madness.

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