For the same reason, the styles in each of the live performances (Live PAs) are distinct from each other to build on the flow of the evening, depending on who else was playing.
FYI: The piano from “Reconciliation” was recorded over the phone into a laptop microphone in the business office of Brilliant Studios in San Francisco. It was the hippie waitress girl Tao met at the Mexican restaurant down the block from the studio. She had been learning piano. The rest of the track was built around that single piano line.
Samples in “Light Cannot Escape” from Fear and Loathing in Las Vegas. Samples in “Phreak” from Full Metal Jacket.
The track “Dictophone” alludes to a connection between Tao Groove and the then Detroit/NYC based 8 bit peoples collective. Tao Groove was one of the original members of 8bit before their chiptune style became fully realized. He still maintains a close relationship with 8bit founder Mesu Kasumai.
Stylistic differences caused Tao Groove to recede from involvement with 8 bit peoples early on.
Many tape effects and tricks were used in the making of Holy, old school 2 inch tape style. As a result of the many analog to digital conversions and crude equipment, there is a warm saturation to all of the Holy tracks that muds up easily depending on your system.
It’s worthwhile to note it was created on an AKAI S01 sampler. An 8 bank rackmounted beast that got around 27 seconds of sampling time to work with and it cost $1000. It was the bronze age comparatively to what is available now as software.