“Maddi Zubeldia sings!” we said. Our children Pintto Pintto is our dog, who sang sweetly. How brave Maddi is! Is that possible?

Maddi: Brave? I don't think so. As it surprised you, so did I. I sang (ge) at home… I had my intimate world: I wrote texts, I created my own songs... But I did it alone, no one entered my room.

And publish it?

Maddi: The exit to the plaza was not planned. At that time we met some friends in Azkaine, animated the singing workshop Martintxo (Mixel Jorajuria, Txomin Arizaga and Xano Urtxegi, among others) and became friends. We would do weekend passes here and there, and they would say “look at Maddi, take the guitar”... After dinner, after I had a little fun and warm up, I dared to sing. “We have to make a recital,” they said later. One day we were at Donibane Garazi we would drink more than usual, or at least I, Mixel said to me: “Would you sing in the chapel of the Serres district of Azkain?” I asked him: “If the musicians are with me...” So we got going. Later, in the face of the need for people to make a record, we created the H-Eden group.

Did you already sing Nahia?

The will: Yeah, before the mother showed up, we sang at home and out of the house. Brothers and cousins formed a group from a very young age: Unama. 2000. The Lumi group came later, we formed another middle group, naturally.

Maddi, besides singing, are you writing and working in the theater?

Maddi: Writing is before I start singing, I've always written it. But when children are young, time is also short. Women, mothers explicitly, take a short time after many other people's tasks; after work and household chores. The creation of Unama gave me immense joy, to see that they take into account the songs, the texts and the air I have. I was living on the idea that I would ever get the chance to offer myself a little more time, and although it was late, this was what I had come.

How does your mother's activity influence your musical career?

The will: I reaffirm what my mother said. He took care of us and didn't have time to write or for music. However, he wrote texts and composed songs for creation and burial at the request of his friends. We knew he had those qualities. Therefore, it was a joy to publish it himself, the first album [H-Eden. The publication of Hamaika Tzeko, 2013] was a pleasure for those at home.

How did Unama emerge, in what context?

The will: Around the family, we used to sing with brother [Unai] and cousins, the four of us are the same age [Domeka, Kamila, Nahia and Unai] Once, Kamilak eta biok, we were singing ...: “Something you did for the ikastolas?” And we do! In addition, brothers play more instruments than we do, Kamila and I just play the guitar.

Unama, a nice name.

The will: Unama is the name of the rope used in the whalers, the rope that binds to the harpoon. The four musicians are from Ziburu and we have reflected in this environment.

Then you created the Lumi group. It moves away from the Unama style, the music is more electronic...

The will: But basically, there's no change. Before I founded Unama, I worked in a metal group, it was the first musical experience, and then Unama emerged. In Unaman, there is the polyphony of Basque music and the work of the voice. On the other hand, we created a rock group, and Lumi Manu and I created [Manu Matthys]. He's come from the world of electronics, and of course we've merged our styles. You work the way of music as you join people, you don't look for styles, melodies have come naturally. In music there are no limits, styles are created at the will of colleagues.

The word “plumi” means prostitute. Why Lumi?

The will: In the Basque Country there were many bohemians, they already had their language. Those who stood here spoke in Basque and united their words in the structure of Euskera. I've searched in your dictionary, because I find it interesting to look into the history of Ziburu. The Lumi project has seemed interesting, among other things, because we want to blur the limits of music, create or expand music unexpectedly… It comes from Latin Lumi, it seems to be clarity. Knowing that she is a prostitute also gave us the desire to connect with our music.

Dirty shadows is your last job. Exhala nostalgia...

The will: I don't know nostalgia, but I do darkness. Songs are created according to each other's personality. If I had a shadowy or dirty man's voice, perhaps I should use clearer words. Being a girl the voice, I love showing that nice things can be dirty too.

What do you think of your daughter's exercise? Lumi Group Style?

Maddi: I like Lumi's project, because two worlds have come together. That is, to the electronic world of Manu, Nahia has contributed its organic musical part. Desire has a deep, sweet and humble voice, which has given it a kind of body. The music created between the two is glider. The guitar and the voice of desire embody and draw you. They've traveled two different paths and they've come together, getting more and more interesting.

What is music for you?

The will: Actually -- it's fundamental, also in everyday life, not only in performing concerts or recording a record. When I'm just singing. Imagine, now I have voice problems, I've had a nodule, and I realize that music and song have a big part of my life. The music and the song help you exteriorize what you have inside, and now you can't...

You are musicians, but not professionals. Are you freer?

Maddi: I am increasingly aware of the freedom not to be a professional. In the years after the publication, up to 5-6 years ago, not being a professional who lived as frustration. It seemed to me that the professionals had tremendous luck. “All the time dedicated to that, that grace!” I thought it was a troll to create and carry out the projects. “Do you live from the music?” they ask me. “To live yes, not to eat,” I reply. I mean, I've realized that professionalism creates a kind of pressure for you: the need to do it. I have food and day to day insurance, I also have a job that I love [is a teacher], so I have freedom and peace of mind. If I had more time, then I need it. But on the other hand, I make music when I want and like, and for what I want. Nobody will impose a deadline on me, I would experience it badly. I put the bonds to myself, I don't want anything else.

Your first album with the H-Eden group, Zimurrak Baleki, has been posted to your name.

Maddi: That has its explanation. My musicians' friends encouraged me to go out to the plaza and now they don't feel able to follow: “See you alone. You already…”. I mean, they pushed me and now they've left the project. So I couldn't follow H-Eden's name without them. They're not far from me, they help me... The truth is, as I got on the board, it was worse than I did. It also took me so hard to overcome those stomach pains, but as I moved forward, when I began to enjoy... “Well, you have left me alone…”, I tell them [laughing]. I always kept myself in the liver and it's time for me to face Maddi. I've assumed to be a singer, though I know I'm not alone. I've always lived it collectively. I opened a window. I entered another adventure.

If the wrinkles knew it. Do you know?

Maddi: No, you don't know. The title of the album is, of course, my age. Recognition and display of age and hospitalization. “If the youth knew it and the old lady had …”, says the old saying. I've become so hard: “Does the old man know?” It's not enough to know how to age. That's where it comes if wrinkles knew it. The more I went ahead, the less I know, and to learn what I have.

H-Eden: rest in paradise...

Maddi: But as long as we are in the world, here we must create our own. I don't know if paradise is, but if there are magical moments here, I complete my paradise like this, those magical moments arise because I share it with music and especially with my friends.

Sing in three and four languages.

Maddi: It is not a question of attitude. I don't sing very much in French. For example, Anje Duhalde made songs in Basque by Georges Brassens, all right. But to my taste the songs lack salt and pepper. Seeing how Brassens used language, that game with words… In Basque it is very difficult to transmit. The same goes for songs in Basque, if we listen to them in another language... For example, you'd lose in French, wouldn't you? I am not happy with the translations and deal with the original language. I especially like Latin American songs, I like languages, and I also know.

Nahia, you are a translator of profession. Would you make a leap to the professionalism in music?

The will: Sometimes I find it attractive to become a professional, and other times I see that professionals don't do what they want in their own way. Ours is a small town, they don't have enough opportunities for concerts. At that time, in addition to working as a soloist or with their own group, they are dedicated to teaching music in schools, they are dedicated to projects by other musicians. I'm an autonomous translator, and that gives me a lot of freedom to create music. When you have to record, I can work less and other times more. I don't feel the need to decide to be a professional. However, if music took more space and time in my life naturally, without forcing, little by little, it would be welcome. Therefore, I do not take that possibility from my head, nor do I force myself into the path of professionalism.

How is the production for musicians today, with the album and concerts?

The will: Today living from records is impossible, you can't wait for that. The purpose of the albums is to make music known, every day more. You can live from concerts, safer than records.

Maddi: The disc, as an object, has already dematerialized. I like the object, the smell of record leaflets and normal books. The book will last longer as an object than the disk. The album is becoming the medium of promotion, which is necessary, is a presentation to be made known. Then people take it from the Internet or reject it diskoa.Mundu along with the real there is a parallel world, a digital world. How to open a disk when it is previously available on the network?

The will: We cannot expect that, as in the past, people will be surprised. We try through the Lumi group -- we rely on the album, of course -- to make different versions of the songs to offer surprises to the public. In fact, it's not the same thing to record music, and for those of you who are listening to music in your presence, you excite the listener differently. Musical improvisation can make an impression on the listener. We try to make spaces for improvisation and animate songs differently.

Maddi: Although we're at the end of the object, even though people are becoming more and more immaterialized, fortunately, people go to concerts, well, maybe we're not an example of it ... When I go to the people directly, I don't look for the song that's on the record, but the moments that that that group creates coexist with the public, I'm going to share music with people and it's always different. The energy is different, the relationship is different and different types of lightning arrests are formed in the body. From the relationship between the audience and the artist arise “new songs”, from songs and words, also from silence. A record doesn't give that...

What is silence?

The will: Someone said: “Music is something that stands between one silence and another.” So silence is part of the music, so I live it. Without silence, music would be nothing. Silence is perhaps the most beautiful music, something we didn't get. What we do after silence is music. Silence can also be the goal of music, to show the value of silence, to value silence.