Loquillo began as a pure and hard rocker and then gave voice to the poets. Now take out The last classic . in which it combines both sides. While vigorously claiming his individuality, he interacts with authors such as Luis Alberto de Cuenca, Gabriel Sopeña, Marc Ros (Sidonie), Santi Balmes (Love of Lesbian), Leiva, Igor Paskual or Josu García, producer of the album. Loquillo declares his nostalgia for the Barcelona of the seventies and eighties: the city "avant-garde, cosmopolitan, mundane and without flags."
"It is curious to see how the world to which one belonged vanishes"
In one of his letters he says that we are what we defend.
Each of us has a commitment to himself and, in the case of a creator, with his art and those who receive it. Also with his character. In this case I mostly do the transmission chain of many authors who have composed the songs hand in hand with me.
However, when someone says that we are what we defend, one thinks of some cause.
It is interpretable. I defend my cause. I am individual, not collective.
That is one of the key ideas of the album, isn't it?
Yes. I think the singular is subversive. The individual believes, the parasite loot. It is an absolute truth.
Have you always seen it that way or is it the result of a process?
I am 58 years old and I have been through all measles that a creator can have. My character is the years he represents. Luckily, I burned the stages I had to burn. There is nothing that supports less in the world of music than peterpanism; Not growing and not assuming who you are.
Insist on the importance of evolving. Do you think society evolves properly?
I belong to a generation of the end of the century. The world I have known fades away. But we are still in the late twentieth century. Technology has not made the final leap. Something as palpable and artisan as rock and culture around it, that global language that united young people from different cultures, have been swept away by the networks. Even so, rock has always had a great capacity to reinvent itself, and in it things are real.
This is not the era of truth.
No. As Tommy Shelby (Peaky Blinders character) says, lies travel faster than the truth. And that affects the arts. Because it gives rise to non-culture, to the banalization of the artist and his stage, to the loss of the trade. The impression has been created that everything, in the creative, is within everyone's reach. And no: art is unique. And the individual is. The creator is unique. The collective does not believe. Unfortunately, what they bring is bad vibes. The great steps of humanity have been taken by the individual. Unfortunately, today one is missing real writers, real actors, real musicians … And in our country culture is not valued. In the last electoral debates there was no talk about it at any time. When freedoms are not defended, they are lost. When culture does not defend itself, it ceases to exist. And what happens to occupy that space is usually ignorance. Just when we have more information and access to culture, we are more ignorant. There is a lot of theory and information, but zero attitude. Sad.
The latest classic is announced as "the best" of his career. What is that proclamation based on?
In this album I am a talent manager. Those of many authors. Loquillo has long since ceased to be an artist who takes the stage. Many things happen around you; lots of authors meet. That gives a tremendous court. It's like basketball: an individual game that is played as a team. A rock band must be like that. That makes you freer. I am not Loquillo and such. I'm not corseted as I was 14 years ago with Los Trogloditas, a band that I abandoned, and not vice versa.
He says it with great emphasis.
It is that if I had not left that band I would have ended up in eighties music festivals. For me it was a jail. When I left and embarked on a solo career, I did not lock myself into my self but rather the opposite. What I did was to develop my method, which consisted of turning Loquillo into a creation space. And it is very funny.
Before doing the interview, his representatives told me that he would not talk about Catalonia. Why?
I've been in Euskadi for 15 years. But I grew up in the best Barcelona of all time: the avant-garde, transgressive and mundane. Then I went to Madrid. And when I returned to Barcelona in the mid-eighties I met the pre-Olympic city: great, cosmopolitan, hedonistic. I got his best time. In 2004 I left because I ran out of options. He had ceased to exist when, however, in the rest of the country he had a very broad career. Montserrat Roig once told me: "Your roots and memories must be put in a suitcase and carried with you." My DNA is Barcelona. I have tattooed his shield. I am the son of a city that was said to be born in it was to be born in the world. There were neither homelands nor flags, and the streets belonged to everyone.
There are signs of nostalgia for his city on the disk.
I am the singer-songwriter with more texts dedicated to Barcelona. By the way, the only images of the emblematic Avenida de la Luz, the first underground commercial gallery in Europe, are those of the video that Manuel Huerga made in 1984 for our song of that name. I have many album covers with photos of a Barcelona that does not exist. It is curious to see how the world to which one belonged vanishes. I chose to keep the memory.