Banco De Gaia includes: Toby Marks, Jennifer Folkes, Ted Duggan.Recorded at New World Bank, Somerset, England; The Great Pyramid At Giza, Egypt; The Temple Of Seti 1, Thebes, Egypt.Toby Marks, aka Banco de Gaia, has gone from strength to strength with each successive recording. Leaving his trancey roots far behind, the sizzling morphed worldwide grooves of IGIZEH reveals Marks' finest document yet. Forget the concept of 'fourth-world' music: this is 'multi-world' music, sounds extracted from far-flung cultures and even farther-flung machinery. The pumping synths and whooshing jungle strings of "Seti I," complete with Indian chant, could be the track aboard Voyager that sets extraterrestrial visitors on an immediate sortee to Earth. "Creme Egg" uses tribal drumbeats and whirring electronics in making its presence known, while the electronic vocalizing, exotic percussive accents and pocket trumpet sounds of "Gizeh" sound like they arose out of the seventh circle of hell. And if things weren't psychedelic enough, Marks pulls out all the stops on the Calcutta cybercafe calculus of "How Much Reality Can You Take?," which positions techno-trance music as the penultimate sound of the casbah. Turn on, tune in, bliss out.
Banco De Gaia includes: Toby Marks, Jennifer Folkes, Ted Duggan.Recorded at New World Bank, Somerset, England; The Great Pyramid At Giza, Egypt; The Temple Of Seti 1, Thebes, Egypt.Toby Marks, aka Banco de Gaia, has gone from strength to strength with each successive recording. Leaving his trancey roots far behind, the sizzling morphed worldwide grooves of IGIZEH reveals Marks' finest document yet. Forget the concept of 'fourth-world' music: this is 'multi-world' music, sounds extracted from far-flung cultures and even farther-flung machinery. The pumping synths and whooshing jungle strings of "Seti I," complete with Indian chant, could be the track aboard Voyager that sets extraterrestrial visitors on an immediate sortee to Earth. "Creme Egg" uses tribal drumbeats and whirring electronics in making its presence known, while the electronic vocalizing, exotic percussive accents and pocket trumpet sounds of "Gizeh" sound like they arose out of the seventh circle of hell. And if things weren't psychedelic enough, Marks pulls out all the stops on the Calcutta cybercafe calculus of "How Much Reality Can You Take?," which positions techno-trance music as the penultimate sound of the casbah. Turn on, tune in, bliss out.
Hero image 0 of Banco De Gaia includes: Toby Marks, Jennifer Folkes, Ted Duggan.Recorded at New World Bank, Somerset, England; The Great Pyramid At Giza, Egypt; The Temple Of Seti 1, Thebes, Egypt.Toby Marks, aka Banco de Gaia, has gone from strength to strength with each successive recording. Leaving his trancey roots far behind, the sizzling morphed worldwide grooves of IGIZEH reveals Marks' finest document yet. Forget the concept of 'fourth-world' music: this is 'multi-world' music, sounds extracted from far-flung cultures and even farther-flung machinery. The pumping synths and whooshing jungle strings of "Seti I," complete with Indian chant, could be the track aboard Voyager that sets extraterrestrial visitors on an immediate sortee to Earth. "Creme Egg" uses tribal drumbeats and whirring electronics in making its presence known, while the electronic vocalizing, exotic percussive accents and pocket trumpet sounds of "Gizeh" sound like they arose out of the seventh circle of hell. And if things weren't psychedelic enough, Marks pulls out all the stops on the Calcutta cybercafe calculus of "How Much Reality Can You Take?," which positions techno-trance music as the penultimate sound of the casbah. Turn on, tune in, bliss out., 0 of 1

Banco De Gaia includes: Toby Marks, Jennifer Folkes, Ted Duggan.Recorded at New World Bank, Somerset, England; The Great Pyramid At Giza, Egypt; The Temple Of Seti 1, Thebes, Egypt.Toby Marks, aka Banco de Gaia, has gone from strength to strength with each successive recording. Leaving his trancey roots far behind, the sizzling morphed worldwide grooves of IGIZEH reveals Marks' finest document yet. Forget the concept of 'fourth-world' music: this is 'multi-world' music, sounds extracted from far-flung cultures and even farther-flung machinery. The pumping synths and whooshing jungle strings of "Seti I," complete with Indian chant, could be the track aboard Voyager that sets extraterrestrial visitors on an immediate sortee to Earth. "Creme Egg" uses tribal drumbeats and whirring electronics in making its presence known, while the electronic vocalizing, exotic percussive accents and pocket trumpet sounds of "Gizeh" sound like they arose out of the seventh circle of hell. And if things weren't psychedelic enough, Marks pulls out all the stops on the Calcutta cybercafe calculus of "How Much Reality Can You Take?," which positions techno-trance music as the penultimate sound of the casbah. Turn on, tune in, bliss out.

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