Dargelos (Adrià Lloris) is one of the most promising artists of the new experimental scene of Barcelona. Sampler-man par excellence, Dargelos uses this machine with the freedom and the capacity to surprise as his best weapons, avoiding the use of a sequencer in order to allow the looped samples to flow with the irregularity as a disturbing element, making the chaos and the uncertainty the basic ingredients of his sonorous menu.
This space for the unexpected, for the construction of structures from an error, for the imperfect loop or for the juxtaposition of random elements, define his music as an organic carrousel of intermixed sensations that fall against each other: creaking, scattering, bumping, scraping, breaking…Dargelos' great discovery is his equilibrium between these elements and some melodic and rhythmic microstructures which minimally secure them together. It's a speech full of little paragraphs ranking musically from the merely contemplative to the most anxious repetitive tension.
Until the end of 2003, Adrià Lloris was a component of Mint 400, group of experimental rock formed as well by two of his most usual co-workers: Ramón García (Beef) and Toni Campoy (Camping). The direct antecedent of Dargelos was a demo recorded under the name C'mon where he only used the samplers to accompany Toni Campoy's voice. Already as Dargelos, he presents in live at the LEM 2003 Festival at Barcelona. Finally in 2004 appears "Dal sottofondo", auto edited CD full of sinuous bends, unpredictable turns and cinematographic suspense atmospheres…; summarised in themes such as "Cadaqués" and "Kentucky", alternating from the lazy languor of the first to the psycho-rhythmic tension of the second. An excellent work that confirms him as one of the most promising and solid proposals of the new Spanish experimental panorama.

• Dal sottofondo (CD, autoed., 2004)
• Home Music (LP, exp_net, 2006)
• Corte y confección (LP, exp_net, 2009)

"Confronting the need of discipline that comes about from the freedom offered by the use of samplers, Dargelos has alleged tension, defending the chaotic origins of music and the enormous irregularities of samples looped without sequenciators. This project of contemplative and strong music, always trying to keep on the balance, which is quite a difficult task, is based on an unexpected familiarity, stalked between risk and emotion, certainty and chance. There is no instrument with such a personal language as the sampler without having been domesticated by sequenciators. Dargelos' sampler talks on and on with a literary science-fiction fluency and rough atmospheres from imaginary films. Collaborating with him in studio, Tony Campoy from Camping, and in concerts, Ramón García from Beef." (LEM Festival 2003)