You got your first job four years after the first concert. What journey have you had?

Josu Ximun Billelabeitia: When we started, we had problems merging groups, because we were all involved in other projects. Lukiek is a parallel project that has gained strength in the last year.

Christian Rodríguez: When we saw that the group was working and people were approaching, we realized that we could move forward. We've been able to combine projects, and by doing a lot of concerts, we've chosen the ones we liked the most. The last year has been more intense and we have decided to go into the study.

The album has a marked character of the 1990s. Where does that influence come from?

J. 10. Billelabeitia: All three of us are fans of different kinds of music, we have references of all kinds, and that's what you see on the record. Our common point is the music of the '90s. Lukie's part of it, but then we put other touches on it. The songs are varied, because we've put in songs made for four years, but it's all Lukiek.

The great C. Rodríguez: The disc has a drive.

You've recorded it with Xabier Egia in the El Tigre studios. What has the process been like?

J. 10. Billelabeitia: At first we intended to record all together, because after playing a lot live we liked the sound we had all three together. But once we did the test in the studio, and we liked the sound of the battery recording the track. In addition, this allows you to record many guitars, forming a wall. Xabi Egia lived in the '90s and we think she wanted to record our album, because lately she was recording a lot of indie music. He has taken the essence of the team very well.

In words you can find stories, some criticism, word games... What inspires you?

J. 10. Billelabeitia: They are very varied in that sense. Some are more superficial, some more personal or a little more complicated. I often like to describe an image that I see, abstractly. On the other hand, I really like to play with phonetics. I sing in a sort of English invented by composing, and if I like the combination of some vowels, I'm looking for words to match in Basque with those vowels. In the end, the voice is another instrument, and for example, when singing a fragment with the “F”, it becomes aggressive. If you want it to be quieter, you sing differently. I think all of that influences. Sometimes you don't know why a song has strength, but it can be in the aggressiveness of phonetics.

The design of the album has been done by Ximon Agirre, and in it there are many references of the songs. What relationship have you had with him?

J. 10. Billelabeitia: He did it all in a week, counterclockwise. It's a vulture. He asked us for the letters and picked and reflected the images he liked. He understood very well what we wanted. He's very agile in his work and he was dealing quickly with what we were telling him.

You have followed the path of self-production. Does it require a lot of work?

The great C. Rodríguez: It has a lot of work, but it's pretty nice. I personally really like it, I come from punk and the world of self-management, and I would like to follow that idea both in the management of the economy and in the production of music, and also in what we have to do as a group. Of course, it is good to have the help of contacts both for concerts and in other areas. But we've seen a lot of people lose control and power over their things so delegate, and we don't want that to happen. That is why we take care of our things and we are happy with it.

The concerts are being held mainly in gaztetxe and small lounges.

The great C. Rodríguez: We support the scene of self-managed spaces in the Basque Country, but without giving up the other. We see compatible and necessary to play in larger rooms like the rest. We are not playing at major festivals, which would require a greater degree of professionalism and commitment. But we hope that that too will come.

Do you have any kind of relationship with other groups?

J. 10. Billelabeitia: We have a good relationship with other groups, especially the Mungia group. There are a lot of groups in it: Sua, Toc, Senda, Belako, Wicked Wizzard.. All right, because people from other groups come to our concerts and we go to their concerts. In the end, it's a circle; and that's very positive for a village, for the people coming, to see how many groups have formed. Then, we help each other a lot and touching them is a pleasure, because there is a lot of trust.

You will also present the album in Madrid [December 5 played there]. Do you now think that groups singing only in Basque are more likely to leave the Basque Country?

The great C. Rodríguez: What we do is universal and it doesn't have its own brand. For me, it's a plus to do songs in Basque. We also traveled to Madrid for the third time.

J. 10. Billelabeitia: But it is true that the limit of languages is there. For example, the French groups are not as well known here as the Anglo-Saxon groups, the Spaniards are not as well known in France. For the rest, we do not know many Catalan groups. We believe that there is much to be done in the Spanish State in this respect. In our case, we care a little bit about language. If we see a concert and we like the group, then we will realize the words. I attach importance to phonetics. I sing in a slothful, steep tone, and because letters are introspective, at first people don't understand clearly. Keep something more universal, because the voice is another instrument.

What plans do you have after the tour is over?

The great C. Rodríguez: The tour does not end and the idea is to continue playing in the Basque Country and travel to places not visited: Galicia, Andalusia, Catalonia, Asturias... We would like to take the van and continue to play, but without haste or pressure.