It has taken less than a year to publish his second album: Bravo LaHoz 2, which, although with significant differences, could well be understood as a continuation of his first work, and his commitment to a personal project that maintains a markedly independent character, fleeing from pigeonholes and pre-established formulas, the result of self-management and absolute control of his work . The new LP is made up of 9 songs, recorded entirely by Antonio Horrillo in anti study in Fuenlabrada; city where the artist lived for more than 20 years, and which has exerted an important influence on the creation of the work.
It shares with his previous album the construction of the pieces based on texts collected in the artist’s personal diaries, which contain reproductions of dream sessions and manipulated evocations of reality, such as those that can be found in “The song of the fountain, “Evespers of San Esteban”; informalist court poetry in “one more” or self-pitying attempts at self-definition, which have something of a declaration of intent in them. “damn you”. Stories that move between the real and the surreal, told in the first person by the different characters who build a contradictory identity, and plunged into absurd complexity to address the simple problems of an accommodating life, angry with the world for their childhood inability to face reality; and of course, touches of house brand social criticism.
We find ourselves again with a heterogeneous set in style and sound; from the Post-Folk from the introduction: “the park”al Art-Rock with complex structures on the last track “a new world”; coexist with acoustic and electric guitars, drums and programmed bases, synthesizers and harmonicas, which forge in different formats and hybridizations of styles (Rock con Electro “gaslight” Folk with Noise-Rock “the fountain song”Ritual Ambient con Blues “Fortune Teller Syndrome”) which can sometimes be somewhat disconcerting. The sound in general is raw, wrapped in noise and shrillness, it is surprising that in some cases execution errors that arise spontaneously in the recording have even been left uncleaned, even at the risk of inflicting an “amateur” character on the work. , provide the unadulterated reality of passing through the streets of the city that does not appear in tourist guides and is not decorated to be visited.
The architects who have built the whole complex are: firstly, the Javier Bravo Lahozwho plays acoustic guitars as usual, and this time he has also dared with electric, drums and harmonica; Antonio Horrillo who contributes guitars, drums and the electronic part, as well as some intense voices that accompany clapping and blows in “Síndrome de Adivino”; and Gustavo Yuste who collaborates again and this time with a greater presence of guitars. He participates this time in the musical part carmen gonzalez (who has been responsible for the visual part of the project) with the choirs in the song “very boring” a minimalist breath and Lo-Fi that could be reminiscent of Sparklehorse.
We are therefore before a work that transits different worlds, linked to each other by narrow alleys on whose walls different characters have written (or painted) messages with different colors, alleys that lead to other alleys or that, through the streets of industrial estates, They come out into the open field on the outskirts of the city, showing an empty sky, with no more light than the orange glow of the streetlights on the open fields, the scene of the misadventures of normal lives in places that are too normal, from which there is no escape.