Last Train to Lhasa could be billed as an "ethnic techno" album. It could be billed as a protest album, dealing with the oh-so popular cause of Tibetan freedom (somewhere, Richard Gere's ears just perked up). The beauty of this album is that it's both, without really being either one. Although it has all of the earmarks and sounds of a techno album, it's often far more subtle, appealing to your mind as much as to your feet and booty.
Toby Marks can create some intense rhythms and his trance-like melodies are as dreamy as they are dance-inducing, but his real skill lies in subtly blending the ethnic influences and samples. When the beats fade out and all that's left are the drones and flutes calling to each other, the effect is eerie. Marks practices restraint, something quite rare in the genre, so the sampling is never gratuitous, but flows and winds its way through the music, accenting and deepening the mood.
As for this being a political album, the approach is the same. Rather than using political speeches and fiery diatribes, Marks uses the ordinary sounds of Tibet to convey the impression of a mystical land shrouded in secrecy and wonder. The use of chants and ethnic instruments, though often sparse, convey the beauty and tragedy of Tibet, as well as the mystery of that land.
