You will bring the “Alutik” project to the Aiaraldea Activity Branch. What is behind that gross name?

It's raw, naked and very corporal. There's a moment of acting where I say that our greatest pleasures and our most intimate pains happen, and out there I sing. That's the idea.

Is it just music or does it involve reflection?

Yes, it's music, it's a concert. But it's not just music, I also play a lot with the word, and not just with the sung word. I'm a musician, and music is my instrument of communication and of telling things. Sometimes I make songs and sometimes sounds, and I also tell words about sounds.

Are all new songs or have you recycled some old song?

There's everything. Some songs and texts are new. Some songs are mine, some are from creators I want. I love making versions of songs, and I love passing them through my body and taking my roots. It's like a translation job; it seems that translating is just translating into the Basque language, but also translating it into us.

Most melodies and texts are mine, but not all. It's old and new. The songs I wrote eight or ten years ago that I sang with another body, I look back at them from what I am now. These are songs that have gone through the filters of the experiences that have crossed me in the last three or four years.

Although you're the same person, you've been in different phases. Where do you put yourself now?

I'm no other, I'm Inés, but I'm not the same Inés, and I'm just as bad as that. Still, I remain myself, with all my wounds, with my backpack and with all my steps. Inevitably, my entire journey has brought me to what I am now.

The most honored thing I can do is sing from where I am today, and not from the boots I was wearing. It's not easy.

In my case, I have had to look for distance, stand up and, above all, surround myself with other creators; immerse myself and walk in other projects.

Perhaps the remoteness from the large and colorful foci and the fact that I have walked through other, more intimate places has allowed me to create what I have now to sing. It has been such a process.

Returning to the “Alutik” project, surely many people only look at pleasure, but motherhood is linked to the static aspect. Has life and motherhood linked to rock music led you to make your own musical career differently?

Not only because I'm a mother, but because I've been put in the center of care, and indeed, care is one of the top priorities of my life right now. Not only the care of the little person around me, but also the care of myself, and others. And with Rock n' Roll, they're nothing compatible. That was an important crossroads for me, I had to decide. And it was a very hard grief.

"Care is one of the top priorities of my life right now."

I think it's a shared experience that we've had a lot of women, because there's a time in life where you think you're completely free, but there's a series of crossroads of life that you have to choose: live or die.

And I chose custody, I chose to live. Not for maternity, but for care.

Motherhood inevitably passes through the branches. It seems that motherhood is something totally disheartened, or very romantic, and that's what I'm also singing. We all start from bad to worse, we've all gone through some bad step, forward or backwards, at some point in our life.

How does the tour of the show come about?

From the very beginning the death sentence “Alutik” was born. At this time when I am now, I put it in order to get the conditions out and not wait for invitations.

"This is going to be the end, as far as "Alutik" is concerned, there is no more chance of seeing"

I was thinking I was going to do a little tour in the fall, just playing me. I started shaping it, and I decided to make eight or ten attempts.

This will be the end, the goodbye. I will go to your house on Saturday, Sunday to Larrabetzu, and here you will end “Alutik”. The time has come to transform itself into something else. I felt that the cycle was finishing, I also felt the need and the desire to give body and form to this music, hence “Alutik” was born.

There will be no more opportunities to see “Alutik”. I'm not afraid to die right now. Although, at other times, I've been afraid to say goodbye, to leave.

It seems that if you leave, you undo the conquests and the roads that are made in the plaza. I will stop being what I am now and become something else. I hope to continue to have the desire to sing and share what I will be. I don't know what's going to happen next, but this is over.

Do you know what comes after that, or have you not yet noticed it?

I don't know. The first winter will come, there will be a great fallow. The last three years have been very moving. It seems that somehow I've been pretty motionless and dead in public and as a musician, but I don't feel that way. I've been on a lot of projects, I've done a lot of different things.

It's been wonderful that musical monogamy came out of the way, and that at the same time I felt able to do five different things, following my creative function. All this has been a very large learning, it has been wonderful to discover that there are many plazas, and that there are many small squares outside Rock n' Roll, with a different audience, with different rhythms and with a different discipline to create.

After all that learning I don't know what's going to come, but you have to liberate it, if not, nothing will come.

With Ekon and Gose you created some influence on the public. What feedback have you perceived with “Alutik” compared to others?

Very different, but there's also something very similar. It seems to me that when you go up on the stage, you tell it from the truth, from the sincerity, and I think the other side notes it. Beyond liking or not. I think something is noticeable and moving.

"With Gose we made known some references"

It is true that Gose moved many things, and that Hunger Inés. I'm talking a lot about that Inés in third person and it's me, but it's like when you look at the pictures a long time ago. You don't know yourself, but you know it's you.

So it's a mirror to a lot of things, and that's what produces something. Now, I'm talking about other very different things. But I continue to mirror things, and I am aware of that.

Maybe ten years ago I wasn't that aware of what that said, but now I do it by becoming aware of it all.

So it's something that gives a very big, very intense, but wonderful pleasure. I love going out to the plaza and telling things, impressing, etc. And yes, wonderful things have happened in the “Alutik” sessions, yes.

There are no such explosive things as happened at the Gose concerts, but in the performances we have experienced very intense moments.

When I was with Ekon, how did you see yourself as an artist? And when was I with Gose?

The most important achievements with Gose have been those related to the essentiality. That is, fifteen years ago, in the Basque scene, in the Basque culture, we had very few references to rock music, and beyond.

For example, we didn't have references in electronic music. The musical genre we were doing didn't look like any other group, but we could also sing with anybody. There was no circuit for music like ours.

On the other hand, a woman sang raw things and was dissatisfied. I think we gave some references, and that has been wonderful, both for Gose and for all those who come later.

It was wonderful for us to go abroad, or go to the state to sing in Euskera, or do six records, a lot of things. They lived for ten years. For me, Gose has been my must-have musical project.

"I learned a lot from Ekon, but I was singing from the vase."

I didn't live with this kind of experience, or with that kind of consciousness, probably because I caught myself very young and, surely, I sang from the garden. In no way, as far as possible, could I tell you the things I had to say.

I was singing about things that didn't cross me and maybe I was making music that didn't pass through my body at the time.

But Ekon was a great door that led me to another version of me, from the world of traditional music, from the plazas, from the championships and from that way of making music. It was an opportunity to see and discover an impressive school and make music.

Add to that fifteen or sixteen years, it was, in a way, a way out into the world. But I don't know if musically it affected me so much. It was a way to get to know other places, to meet wonderful people and to do a lot of work. We learned at Ekon what it was like to be a musician. All of this has led me to take the next steps. Maybe, without Ekon, Gose wouldn't have happened.

Now I feel that every time I go to the plaza, I'm all asked about that Inés I've been. Hungry people ask me what I'm doing now or what I'm going to do.

“Alutik” is such an answer, I say “this is me now”. Don't expect what I'm going to do, because I don't know either, but this is what I am now and this is what I'm doing now. To everything I've done so far with all my affection, but now I'm right now, very connected.

It looks like ours is a very small, very militant scene, and we're looking at very few creations. But I've realized that there are pressures of this kind that have influenced me a lot when it comes to creating.

To see what I am going to do now has been a constant question for the last three years. And I thought I didn't stop. How am I going to do that? I'm alive!

But it seems that if you don't present a record at the Durango Fair, you don't tour twenty concerts, or you don't exhaust your tickets and that's not notified on social media, you don't go at all.

And this is a cry from the small. This need to create is fundamentally connected, and not to those rhythms and creative processes that the market places.

In Euskal Herria, what influences most is the exterior, and it seems not, that it is a very pure and romantic scene, but it is not at all. It's a very violent and very competitive scene.

It's very small, it looks like there's room for very few people, and this is a little bit against. He's a fan of being a musician, and being a musician shouldn't be precarious, not just for art love. I also do it because I'm a musician, because this is my job and my activity in life. But both can be compatible.