Remate is a musician trained in classical music since was wearing short trousers and long socks. His first hero was a heroine, a skinny Belorussian piano teacher, who taught him how to play piano for hours without hurting his hands and wrists. The second hero was a South African guitar teacher with a curly toupée, who instilled him the significance of the posture if you wish to turn into a good guitarist. After these pre-Olympics he became a singer/songwriter without limits: From folk to blues, from rock to gospel, from country to pop, always with the ambition of the one who knows that you must deserve your own influences, and that having style means much more than quoting other stylists. At the beginning his voice sounded like a drunk Ry Cooder or between J. J. Cale and Neil Young; then (since on Junk, 2005) a cocktail of Kurt Wagner (Lambchop) and Wagner without Kurt (he would have a voice as cavernous as his operas). Lately his singing has been not dissimilar to Bob Dylan yapping in a small town library. The process, of course, finally turns up to Remate's signing to Acuarela for a brand new ouvre created like a labour of love. No Land Recordings, his new double album with 25 songs, is jam-packed with clouds of latex, giant wings, toxic passion, dinosaurs, enemies, falls, one-eyed singers, pain in vain, kitties and beautiful ladies, love at first sight, howls, fireflies, propeller beanies, TV shows, sports, calls, Superman, glowing colours, bankruptcy, tenderness, mends. Split in two CDs called "Beetle" and "Bird", we face the work of a brilliant and dazzling personality. A diptych drowned by a bitter liquid chained to an umbilical cord of appellant substances: free will, digressing songs and great enemies. Their morphology and dynamics go beyond these recordings, where we also find several collaborations, like the Loco Band (Paco Loco, Muni Camón, Pablo Errea), members of the Spanish band PAL (Carlos Toronado, Kike Pierrot) and even Gary Louris of the Jayhawks).