CAMOUFLEUR

Gastr Del Sol, still with the shifted pivotal pressure on Jim O'Rourke, but also featuring, once again, a plejade of talented artists (some instruments are actually tough to be discovered, in the entire orchestral grieve this album can have), lives its best years and its keenest music surpass in the later albums, mixing style and experiment to the max and forgetting about any logic of being un-special and un-present in anything except the great mind of progressive spontaneity (which happened a lot, better or worse, till these years of comfortable excellency). Camofleur itself is regarded the best of all the creations and the spot-drop into all the ecstatic meaning and pleasure of Gastr Del Sol (and, outside all, there's even a question of why stopping here, since the band hasn't joined forces to compose other music albums ever since this convincing or foremost attitude, the years of silence and stoppage becoming increasingly saddening). Even if I myself will stick to having Upgrade & Afterlife as my favorite album, Camofleur is a strong (even threatening, at effect) presentation for something in it to face a defeat of music or many flaws, rejecting a lot of the easy post-rock stuff, enjoying a lot its tangled art (which, essentially, has become art), being the eclectic taste always surprised, but rarely solidly seized...and kicking a lot of power in the usual experiment that, in a corespondent manner, is Gastr Del Sol's "greatest twist".

If it's all an interesting design and a powerful grasp, then the only interesting thing (this to complement and to dissipate the album's power and quality, in reasonable kind) is the music. Full of sparkle, it's also got programmatic full intentions, which ultimately aren't too enourmous, but allow the music and the experiment to have the prime secret. Viewed entirely, Camoufleur is an album of extreme eclecticism, going from sound to rock, from post-mentality to modern-frustration, indulging real forms of avant-melody, folk, instrumental beat or progressive shoe gaze (doesn't this last one simply sound risky?). By pieces (7 at number, and all very fruitfully desired), the dedicated space is even better eclectic, lively entertaining and entwining.

The Season Reverse is pure excitement, in a rock rhythm fledged impression and some acute vocal twists; it's to be called typical for Gastr Del Sol hazy dynamicism, but also very well composed. Blues Subtitled No Sense of Wonder is literally an abstract contemplation. The word play is simple and unsubtle, but the deep is almost twice the grasped idea. In all, the slow tempo and ambient-deranged background music fakes a "blues" or a "melancholic" drift/forgetfulness. "Black Horse" is a trippy quasi-folk theme, with lots of vivid instruments to back a "modern dance", but also with a refined sense in keeping the experiment (or the sound break alive); exciting, but moreover sticking in your head for some time. Each Dream Is An Example starts endorsing a ballad guitar harmony line, while the essence is linear and undisturbed; the greatest moment happening in it (it's rather a calmed down anorexic piece, honestly) are Stephen Prina and Edith Frost's lyrics, making it a "chant". "Mouth Canyon" is shortly and simply a "post-rock" numb and artificial passage, with lots of keyboard strangles and a bit of fresh post air into its minor color. A Puff Of Dew finally outrages the experimental sound, out of striking effects and different prismatic flesh-tones. Bauchredner is probably the best piece, despite another calm session of acoustic guitar sonorities, turning afterwards in an epilogue of energy and creative sound lust.

Repeating the recommendation, Camoufleur is a strong, eclectic and sound-scrumptious project by Gastr Del Sol, in a period where the group has become better than ever, whether concerning the experimental upreared essential drift, the rock moderately accentuated passions or the post-music important impact. An album which, speaking out of a broadened genre experience, isn't radical but simple, with totally enjoyable (and awakening) music. Three point fives stars, always recommended.

A fairly highly respected album in the Post-Rock genre this was released back in 1998. A rather large cast of musicians offering up four different types of horns, two violinists and one of them playing viola. Lots of acoustic guitar, reserved male vocals, keyboards and the usual rock instruments. This one is kind of all over the place and yet you know it's the same band if you know what I mean. I can't say this grew on me at all, in fact it was almost a chore to get through it despite reading many glowing reviews across the web. Just my tastes I suppose.

"The Seasons Reverse" has an uptempo beat with acoustic guitar and laid back vocals early on. A catchy track and one of the better ones but I'm not even really into this one. Some dissonant horns after 2 1/2 minutes and an almost island vibe. It calms and slows right down before 4 1/2 minutes before ending with a funny conversation between and English adult and a French kid. Best part of the album.

"Blues Subtitled No Sense Of Wonder" has pulsing sounds as relaxed piano joins in. Vocals before a minute with experimental sounds. Laid back horns replace the vocals after 2 minutes. Suddenly it turns fuller with vocals at 3 minutes. It settles right down again before 4 1/2 minutes to the end. "Black Horse" is a song most seem to love but I don't like it early on with the violin giving it an almost Country vibe. Soon before 2 minutes picked guitar takes over that's impressive but it goes on too long ending before 4 minutes as a calm takes over to the end.

"Each Dream Is An Example" just isn't my thing with the relaxed piano and horns. Some vocals 3 minutes in and harmonies before 4 1/2 minutes. "Mouth Canyon" has relaxed picked guitar and atmosphere. Some crying guitar and vocals to match will follow. "A Puff Of Dew" is kind of dark, slow and experimental. Reserved vocals after a minute and more join in. The vocals stop after 2 minutes as it continues to be experimental and slow. Vocals are back before 4 minutes. "Bauchredner" has acoustic guitar melodies lasting for 4 1/2 minutes when drums kick in then horns a minute later. Catchy stuff.

This was the last we heard of this American band and this was their fourth studio album. Again the bottom line is that I had a hard time appreciating what I was hearing.