They decided to form a group with a tool that everyone else had: Joxean, percussion – instead of guitar –; Mikel, guitar – instead of bass. A violent starting point had been set to flee the comfort zones. “Since I am self-taught, I have little automatism with percussion, although I create my spaces of comfort, necessarily. I knew it would be easy for rhythms. But at the same time I wanted to get out of scratch,” says Joxean. “I wanted to get out of comfort, to be fascinated. Reset. And I try to maintain that philosophy. I am very much in favour of the concept of beginner, of freshness. This is something I am particularly grateful to others for. That’s what I’m seeing now in Mikel, who is discovering a new field, that of electronics, and in a very personal way.” Even the one who has seen Joxean behind the battery, you will easily find the enthusiasm and passion for the explosion.

Mikel is therefore building a new cage via electronics: “I had to beat myself very slowly, with heavy music and with riffs. We were looking for consensus, not nuances. In the dust, we loved Earth, the metal drone, the slowness. But noise-rock always wanted it (Amphetamine Reptile, Lighting Bolt…). I was thinking of a group of those -- violent, noisy, noisy. Our evolution has been progressive. That's why improvisation came. And now the symptoms, the sequencers. We wanted to get it out of the drums and the guitar. We wanted to introduce more severe frequencies or other frequencies. Also out of curiosity: we hear a lot of electronics and jazz, even if we come from rock.”

Although they could have put a finger on several labels, the introduction of jazz into the Killerkume coordinates altered the north of the group. According to Joxean “jazz itself is a very closed style. I am not particularly interested in it. Free-jazz has evolved by avoiding all standards and mixing all styles.” For Mikel it is broader: “Improvisation or evasion of closed models. Different timbres and dynamics, the ability to create contrasts fascinates me with jazz. It's an adventure. It requires more attention.”

And how does a group come to make that decision? Consequence of philosophical discussions? No.Se produced an explosion in a home in the locality of Valencia. In the middle of a concert, Joxean drowned and put Mikel in an uncomfortable situation. This one got angry. “We used to improvise on the premises, but we never did it live.” The transgression, therefore, occurred within the group, beyond the passion to make the public feel uncomfortable. “Of course. Today, I'm also trying to start every concert in a different way, in a way that Mikel doesn't expect, to provoke his reaction. We manage the language, the code, but I always have to start this search. Refresh the context. To renew the language within the language.”

The collateral damage of the explosion was paid for songs of the first album (Trautzer Blaster, 2014). They died on the spot. Since then, songs are a skeleton – and not in any way – but the essence is in the rest. Improvisation has given them a new vitality, a long life.

Without realizing it, they have conducted three tours around Europe, focused on the same repertoire. Rather than leaving the usual environment, being on tour is the dynamics of the season, of the day to day. And so, taking advantage of a free morning in the midst of a tour of over 8,000 kilometers, they went to the White Noise studio in Winterswijk (Netherlands) to record a live program, just as the admired Don Vito, Staer, Dead Neanderthals had done. It would later become the group's third feature (White Noise Sessions, Abrupt/Gaffer, 2018), with which I would repeat as a band. They picked up the trouble and went to Monchengladbach in Germany to show up again to the public at night.

What does the group find outside of Euskal Herria? “In any establishment in France it is noted that they have not suffered a cultural delay of 40 years. There are more rooms, self-managed. Very powerful programming. In the Iberian Peninsula, a very interesting circuit is being woven by drops: In Porto, Lisbon, Galicia, Don Benito (Extremadura), Benicarló (Catalan Countries), Barcelona, La Faena II… They work by associations and meet several people. They are supported.” In ours, sometimes they find attention and respect that they don't find. “You already know that if you get upset in a concert, someone will ask you to be shut down (with all the ethical contradictions that this entails).”

You're clear that the key is in the work of the ants of years. “In Benicarno they have managed to reach 100 people watching noise concerts. It's fascinating. There's education, the meaning of live music has been conveyed, they're not cultures, they're not musicologists. They take care of the value of the experience, realize that a group that comes from another people and goes to another, listen to it with a lot of interest, with respect and treat it well. There is a great human factor involved.”

The circuit of self-managed spaces in Euskal Herria is known as "powerful". They include the Orbeko Etxea de Llodio, the Abattoir of Azkoitia or the Club Le Larraskito of Bilbao, among others. “It’s curious to see that many of these spaces are renewed for generations. Some hold on to this, others do not. Now there are other aesthetics, another rhetoric, stronger than what rock was for us. They know how to handle very well the information that the Internet gives them. Performatively, playing organic instruments has less weight.”