A concrete sound playtime, fixings in the perfect harmony of chords that they dance on the cloudy sky, a day of cold suffocates the throats, it was for being looking at this picture for long moment, your they must connect, give compiled of images that to establish in abstract forms, as if a channel of the collective intelligent conscience returns to deliver senses to the life, regenerating everything what this one, without feedback is impossible ears(hearing).
Un recreo de sonidos, concretos, fijados en la armonía perfecta de acordes que danzan sobre el cielo nublado, un día de frío sofoca las gargantas, fue por estar mirando ese cuadro por largo rato, tus oídos se deben acoplar, dar un compilado de imágenes que establecer en formas abstractas, como si un canal de la conciencia colectiva inteligente vuelva a entregar sentidos a la vida, regenerando todo lo que esta, sin feedback es imposible.
Un recreo de sonidos, concretos, fijados en la armonía perfecta de acordes que danzan sobre el cielo nublado, un día de frío sofoca las gargantas, fue por estar mirando ese cuadro por largo rato, tus oídos se deben acoplar, dar un compilado de imágenes que establecer en formas abstractas, como si un canal de la conciencia colectiva inteligente vuelva a entregar sentidos a la vida, regenerando todo lo que esta, sin feedback es imposible.
At this point Gastr del Sol became mainly a collaboration between Grubbs and O'Rourke, joined by an ever-changing collection of guests. Though McEntire was no longer a full member, he continued contributing to many Gastr del Sol recordings and concerts.
Most releases by this lineup were on Chicago's Drag City Records, beginning with the acoustic guitar-based Crookt, Crackt, or Fly in 1994. "Work From Smoke", the centerpiece of this album, fused Grubbs and O'Rourke's penchant for atonal guitar interplay with bass clarinet and Grubbs's increasingly surreal lyrics.
A pair of releases followed quickly in 1995. The Mirror Repair EP added elements of electronic music. The Harp Factory on Lake Street, released on the Table of the Elements label, was their most experimental work, a piece for chamber orchestra with only occasional voice and piano from Grubbs.
1996's Upgrade & Afterlife included a would-be film score by O'Rourke, "Our Exquisite Replica of 'Eternity'", and an extended interpretation of the John Fahey piece "Dry Bones in the Valley" featuring guest Tony Conrad on violin.
With the release of Camoufleur in 1998, Gastr del Sol progressed further into the realm of conventional melodies and chamber pop, creating their most accessible and popular album. Its chord patterns, melodies, and flugelhorn and string-heavy arrangements prefigure O'Rourke's future pop releases. The album was co-written with Markus Popp, of the pioneering German glitch group Oval, who contributed to the electronic aspects of the album.
After Camoufleur the band split up. Grubbs and O'Rourke have both continued to release albums under their own names in the fields of rock, pop, and experimental music.
Most releases by this lineup were on Chicago's Drag City Records, beginning with the acoustic guitar-based Crookt, Crackt, or Fly in 1994. "Work From Smoke", the centerpiece of this album, fused Grubbs and O'Rourke's penchant for atonal guitar interplay with bass clarinet and Grubbs's increasingly surreal lyrics.
A pair of releases followed quickly in 1995. The Mirror Repair EP added elements of electronic music. The Harp Factory on Lake Street, released on the Table of the Elements label, was their most experimental work, a piece for chamber orchestra with only occasional voice and piano from Grubbs.
1996's Upgrade & Afterlife included a would-be film score by O'Rourke, "Our Exquisite Replica of 'Eternity'", and an extended interpretation of the John Fahey piece "Dry Bones in the Valley" featuring guest Tony Conrad on violin.
With the release of Camoufleur in 1998, Gastr del Sol progressed further into the realm of conventional melodies and chamber pop, creating their most accessible and popular album. Its chord patterns, melodies, and flugelhorn and string-heavy arrangements prefigure O'Rourke's future pop releases. The album was co-written with Markus Popp, of the pioneering German glitch group Oval, who contributed to the electronic aspects of the album.
After Camoufleur the band split up. Grubbs and O'Rourke have both continued to release albums under their own names in the fields of rock, pop, and experimental music.
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