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.

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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.