Bigott is a singular voice in the Spanish indie scene — someone who’s never cared much for fitting into categories, and thrives in that space of contradiction. Though best known for his music, his irreverent spirit spills into everything he touches, including his visual work. Over the years, he’s carved out a unique place in Spain’s alternative culture — not by chasing recognition, but by doing things entirely on his own terms.
His visual art, like his songs, is spontaneous, raw, and oddly magnetic. There’s a cartoonish tension to his drawings — figures that feel somewhere between Looney Tunes and fever dreams — full of teeth, claws, and chaotic energy. The work feels impulsive, almost juvenile at first glance, but his technical control and intentional absurdity make it unmistakably deliberate. It’s less about polish and more about attitude — a natural extension of the anti-conventional persona he’s built across all mediums.
As a musician, Bigott has released a steady stream of albums since That Sentimental Sandwich (2005), including cult favorites like Fin (2009), The Orinal Soundtrack (2011), Blue Jeans (2013), and Pavement Tree (2016). Often backed by different musicians but always led by his unmistakable voice and presence, his music shifts between lo-fi folk, surf, pop, and the absurd — much like his personality. He values freedom above all, steering clear of the industry’s expectations, preferring instinct over strategy, and creating worlds that are weird, wild, and entirely his own.
