It is evident that Bigoted He has been installed for some time in a comfort zone from which he has no problem publishing at the rate of one album per year (at most, every two seasons), opting for self-publishing and operating outside of any logic set by the industry. A trend materialized in short albums that move with rhythm and marked touches between preferences for North American indie from the eighties and nineties, converted into convincing songs after passing through the (on the other hand) recognizable filter of Borja Laudo and company. The people of Zaragoza once again drink from The Feelies, Yo La Tengo, Guided By Voices, Pylon and the jangle-pop of The Clean or The Chills, in a mission that results in eleven new pieces.
The great achievement of the combo lies in the fact that, despite having sacrificed any hint of surprise, the formula continues to partially work, and it would be strange if it were not passed along by the followers of the Aragonese… and all those bands mentioned as influences. A decline, above all, compared to the freshness of those first works with which he appeared on the scene and began to be an open secret among the Zaragoza theater circuit, case of “That Sentimental Sandwich” (King Of Patio, 06) y “What A Lovely Day Today” (Auto, 07).
You can accuse Bigoted (and not without reason) to relapse into their own tricks and preferences, but it is no less true that the ability of the author and his troupe to continue releasing new titles with such generous frequency is praiseworthy. Above all, after being able to maintain the remarkable level of “We Are One” y “New York Dance”with echoes of The Velvet Undergound and Dinosaur JR respectively, or in gems like “Easy To Love”, the cut that gives the reference its title, “Baby I Can Dream” “C’Mon” o “We Are One”.
“Back To Nowere” It cannot (nor does it pretend) to boast of harboring any novelty; Nor is it among the best of an author who along the way left enormous works such as “Fin” (King Of Patio, 08) y “This Is The Beginning Of A Beautiful Friendship” (Gelmar, 09). But, in exchange and with that feeling of making everything easy, Laudo once again signs some highlights to add to the best of his catalogue, accompanied by others that give enough punch to justify the release in question. That, and her shameless personality looking non-negotiable at concerts, is more than enough baggage for the invention to continue forward without raising relevant complaints or suspicions.