It has only taken Antonio Luque a year and a half to deliver the continuation of “Reality Show” (Mushroom Pillow, 22), with which he makes the nineteenth album in the album’s locker. Sr. Chinarro. The Sevillian surrounds himself with an unreleased band to complete an album that is noticeably more reflective (at least, in appearance) than previous releases, also taking advantage of the opportunity to recover the first-person narration, after that relative parenthesis (and creative exercise) that it entailed. the aforementioned previous work.
Twelve songs that pay special care to the wind and string arrangements, giving them a specific presence that shares prominence with Luque’s intonation, more melodic than usual, almost friendly and in shocking contrast to the musician’s always sharp lyrics and latent in the own songs. Perhaps that is why, listening to this album, it is not strange to remember Lambchop or Tindersticks, under the protection of that often calm rhyme in which, yes, Luque does not miss the opportunity to shoot with a bullet based on his traditional and fine irony. For example in “V for Victory”, “El Pier 1”, “Bluetooh Speaker”, “Carlos Haya” and above all, “Jester”perhaps the best of the lot.
In substance (and somewhat less in shape) “Quicklime” It is nothing but an album with the already unmistakable and also non-negotiable seal of Sr. Chinarro, which has certain less common nuances, but which cannot (nor surely does not want to) disguise the main line. It is that part inherent to all of Antonio Luque’s work, which at this point looks (more than enough) as classic within the native independent scene, giving bait and arguments alike to detractors and followers of the Andalusian musician, but which rarely leaves indifferent. .