On the disc, tradition carries a lot of weight. David has treated himself to recording, with his present-day voice, seguiriyas, soleá, malagueñas, alegrías and some fandangos with a personal touch. In order to tackle those cantes, he alludes to references such as Manuel Torre, Curro Durse, Enrique el Mellizo, El Rubio el Viejo, El Niño del Mentidero and Enrique Morente. Oh, and Macandé, whose pregón he resumes, setting it in an afternoon of bullfighting. And for this old-time section, he has vintage guitars. Those of Moraíto Chico and Rafael Rodríguez.

But what opens ‘Trimilenaria’ is of a different nature. The title cut of the album goes por tangos and it’s seasoned along the lines close to pop imposed by Camarón de la Isla in his day. With its refrain, its choruses, its electric basses, its percussions and its solid cante parading in a catchy way. The bulerías by La Paquera de Jerez are also like that, but with an interesting rap to the compás along the lines of Diego Carrasco or Tomasito.

The silky song ‘La calle Priego’ also goes por bulerías, with the touch of another new talent, Santiago Lara. ‘Miradas perdidas’, a track with Moorish airs dedicated to the wetbacks from the Strait, goes por tangos. By the way, nearly all of the lyrics are by Palomar himself, simple yet personal... something which is welcome on a scene of endless repetition of classical popular verses. And as could be expected, it all ends with knuckle-beaten compás, with a fiesta at a key place: Casa Manteca. Back to the essence on a record which, without clear postures, lays down the foundation and reveals aspirations.

"On the disc, tradition carries a lot of weight. David has treated himself to recording, with his present-day voice, seguiriyas, soleá, malagueñas, alegrías and some fandangos with a personal touch"