Glaukoma takes a step forward with Kalima, her third feature film. It is a double album, an excellent work, led by Karlos Osinaga and with an impeccable design by Joseba Ponce. In the songs you can see that it's always glaucoma, but it's more mature, it's more direct, it's more raw, it's harder.

Rhythms and melodies reggae and rap are the protagonists, rhythms dancehall and raggamuffin are also present, as is usual in their songs, and rock touches are also seen, more accentuated than in previous works.

Through them, they speak of the injustices and diseases of society, of power, of fascism, of capitalism, of corruption, of oppression, of racism, of the tragedy of refugees, of wars, of manipulation of history, of the social construction of gender, of the mirages of well-being, of work and of precarious life, of false love, of individualism, of hypocrisy... And they claim respect, equality, freedom of expression, historical memory, to be like who it is and accept itself, and to think and decide with oneself.

Among others, they say: “The tomb of the migrants Mare Nostrum, the yacht of an intermediate magnate in the port of Pasaia; does not the slave of Syria have the owner you have?” (Fire – they’re commin), “In the streets you eat the misery History, the time of the cis-mutu-gors, you the chronicle of a century without question” (Kalomima).

Kalima transcends barriers and borders. It is a bruma, warm, which shouts protest, denunciation and claim, and which moves by the wind of freedom.

In September they presented Bonberenea, which was very full, and in the next few years many friends will meet: In the gaztetxe of Arrasate on 5 October, in the Stage Live room of Bilbao on 7 October, in the Jimmy Jazz room of Vitoria on 28 October, in the Intxaurrondo culture house of Donostia on 4 November, in the Apollo room of Barcelona on 18 November and in the Beikozini room of Ondarroa on 25 November.