I was slow to get on the techno train, electronica/dance a difficult ask of my guitar shaped ears. Half the battle was getting my head around the genres, so many and various seem the sub-stations, from techno to dubstep, deep house to psy-ambient, slimewilt to naughtystep, I just get bogged down in the detail. But it seems there isn't much ever explored on this site, perhaps a giveaway to our ages, or maybe the still lingering lip-service to not including anything too recent, as was the unwritten rule in the downloadable mp3 days of blogging. But the truth is that I love much of it and have taken it and all it's labels I don't understand to my heart, even if the only dancing I do is in the car, whilst driving.
This guy, Banco, or Toby Marks to give him his given, is one of my favourites, ploughing his furrow of world music sample-based soundscapes for some, gulp, near 30 years. His amalgam of afro and reggae, middle-eastern and pan-european folk musics, underpinned and over layered by dense percussion and dubby bass-lines, never fails to lift me. In a truth I find extraordinary, but maybe unsurprisingly, and like so many in electronic dance music, he started his musical odyssey in a heavy metal band, as the drummer. Then, following a move to Portugal: Banco de Gaia is portuguese for Gaia's bank, Gaia being the earth mother and personification of all life in greek mythology, he invested in a digital sampler, just as the rave culture was sweeping mainland europe, having been swept out of his homeland by police crackdown and legislature. The track I have featured here is from an early release, remaining his best known piece of music, subject to numerous remixes and revisions in the intervening years. The rhythm is unmistakably and intrinsically that of a train, carried along with a panoply of Tibetan sounds. Or Tibetan sounding sounds. It was a 1995 UK independent album chart topper and has found it's way onto innumerable compilations of both straight world music and dance music ever since.
Marks has continued to produce music, usually self-produced and released on his own label, a true cottage industry. He has also toured solidly, both as a DJ with decks and, more recently, as a live band. I was lucky enough to catch him in that former guise at Bearded Theory music festival last spring. And terrific it was, I still having no idea "how" he, or any other musician reliant on computers and decks does it, fitting it all together so seamlessly and seismically intricate. Detractors say it is cheating, all pre-recorded ersatz spontaneity, but it so isn't, lacking only an explanation of how I can know that. (If you are a detractor, go bite on your prejudice and experience it in a live setting. You may even become converted.)
Have some live, the same tune, by the band:
Explore!
