Cohort Gaia

1995: fresh from finishing and releasing his magnum opus, 'Last Train to Lhasa', Toby Marks, aka Banco de Gaia, rolled down to Glastonbury Festival to play on the Avalon Stage in the Field of Avalon. The year was one of the first times dance music had been given significant space at the festival, and Toby’s set was much anticipated, with the marquee completely full by the time he came on stage. The set featured many of his most familiar songs, often given radically new arrangements, turning some previously un-danceable tracks into driving club tunes. Ed Vulliamy described it in his review for the Guardian as “electrifying: symphonic, epic, hugely lyrical music in the best traditions of the early Floyd, underpinned by synthetic energy but aiming at an appropriately earthy message, atop which a flute sometimes danced” and credited the show as the highlight of the year…

10 Years Remixed was a limited edition release created following the success of the previous year’s debut Banco de Gaia compilation 10 Years. It began as a conversation between friends and evolved into a collection of remixes. This is a deeply personal document with every remix being commissioned by Banco himself and every remix with the exception of one mix being borne out of a long term relationship.
In a super reactionary and totally cynical music industry how do you express your joy at what you do? After struggling to re-acquire his master tapes, how do you throw a sonic party? In this instance Banco de Gaia called his friends and the result is 10 Years Remixed, a beautiful collection of mighty fine exclusive remixes…

In 1997 when “Big Men Cry” was originally released on Planet Dog Records, no one could have predicted the chaos that would surround and follow it. The campaign was a classic case of the record company marketing one thing and the artist recording another. In this instance, the label and many of the public alike wanted “another Last Train to Lhasa” but for Toby Marks (AKA Banco de Gaia), another “Lhasa” was the last thing on his mind.
Add to that a breakdown of relations between Toby and the record label and you have all the necessary components for a pretty uncomfortable album release. This was compounded by Ultimate Records, who licensed the Planet Dog label, going into liquidation shortly after the album’s release…

After taking time out to tour in 1997, Toby Marks moved from the UK Midlands to Somerset, in southwest England to set up a new studio. After recording the new CD, he then decided to set up his own label in England, Disco Gecko Recordings. The Magical Sounds of Banco de Gaia travels freely between the violins and cellos of Glove Puppet and the Kenyan rain song that forms the basis of the next piece, No Rain. So maybe it’s world music, or global trance; but it’s not intentional.