San Sebastian was one of the names initially proposed for the group. You ended up choosing the name Uger. Is there anything more bilbaitty than plentiful?

Iker. At first we didn't know each other, nor did we know what style he was going to try. I had the idea of making punk rock, and that's why I'm thinking about Donostia. From the perspective of time it makes no sense, it does not match the group we have created. Although I like the name.

Ander. Maybe we were a year and a half choosing the name.

Col. Uger Uri proposed [Ander], but then does not convince his names. I really liked the proposal and threatened them: “If in a month and a half the name that convinces us to the four, when Gago [Jon] was not in the group, we stayed with Uger.” They accepted the deal, and after that time we became Uger.

A. Ugerra and Kedarra is a novel by Sonia González, located in Bilbao. And then Gago made a song that talked about the gray Bilbao, the Ugerra, and with those things, the name of the group was meaningless.

They say that in the local essay they often argue a lot out there. What is the process of creating Ugarte's songs?

I. Creative processes have been changing with each stage if you can call the stage at the time we recorded each album. And now we have come, I believe, to a point where we are not debating so much. I think we are well aware of the times in which we debated a great deal, and that is why we have a great deal of feeling about what we are discussing, even if that is not the case. Because we discussed it much earlier.

Borja. I disagree with this [laughing among team members].

H. We are five and there is always someone from us who opposes, against the agreement between others. We rotate this paper.

I. We have even taken it as a rule.

B. At least in that we all agree.

I. If we are four at the test site and the fifth on the road, we understand that there will be an opinion that says otherwise.

A. And that's right, it's always the same thing.

Debates will also contribute to the group, I say.

I. Experience and all these debates have brought with it a learning process. The figure of Gago was important, yes. Each of us has its own way of feeling music and it's like a translator for that Gago, because it knows the musical language. Suppose I say: “I want the song to be more satisfying or warmer.” And he answers. “Well, let’s get the third one in bigger, I don’t know what note” and grab the keyboard or guitar and play what it has in its head. And when others listen, they understand what I was proposing.

B. It can also be because it doesn't touch any instrument. The others are each with our instrument, and that is a defence wall. I think that influences, because I often turn to others, or at least I do. But when you don't have any instruments -- it happens that you stop playing the instrument, and suddenly you hear the song differently, not your own instrument.

Jon I think at first we were doing more tests, playing. But time has given us a structure that we did not have at first, guaranteeing comfort and warmth in many respects, but in others it has perhaps brought us difficulties. Because everyone has, as Borja said, that kind of wall that can be an instrument. I too am sorry with the voice. And that does not mean that you want to highlight, but that you have stabilised in a perspective. I think to a certain extent this polarizes it, but it also helps it, because it places us in the time to compose. I would say that this has led us to discuss more than enough. Look at what the name of the group came from; if we had a common goal today, it would cost us more to accomplish. In other words, before we met the objectives more easily, because we were playing, and now everything is more structured, no.

In any case, your rhythm in the making of songs shows that, far from entangling in the debates, in the essays you also find a space for music.

A. Over time, to speed up the creation of songs a little bit, we've started to give each of us the leadership of one of them.

H. Yes, we were the first democrats. And we realized it doesn't work.

I. The composition process has also been modified. Today we have technical resources at home, which facilitates the transmission of the idea that each one has in their mind, as it leads them materialized to the local trial, in a riff or in any other sense. You can hear, it's tangible. Don’t start saying “jo RE, jo DO, jo don’t know what.” It tells them directly “listen to this.” And that alleviates everything.

You just gave birth to your last job. What feelings do you prevail?

H. It has been engraved so long, it has not made me any illusion to publish it.

A. I fully share that feeling. Is there someone who lives differently? Who is the fifth against?

B. We have spent so much time waiting for the album...

H. We're already thinking about the next album. Since this record was recorded almost two years ago, and now we're thinking about the next one, not when we just edited.

I. Yes, I would say that all five of us agree.

H. Shit, agree. You just saw Ugarte's finish.

What was the process of creating the last album?

B. It has cost us. I have that memory, which has been difficult, often sad. It was not too nice.

H. Frustrating on parts.

I. We were always looking for the best for the song and forgetting the group members.

A. If I have drawn a clear conclusion from the process, it has been that the Uger road is a road that has different destinations, but nothing concrete, because there can be many. It is we who decide what we want to do on the road and we have to enjoy that road. In short, what makes life meaningful is small things, and one of them is going to rehearse weekly. I would say that we share this idea.

I. I remember one thing you said in another interview. We used to do things for no reason, with whims, and now more. I think so.

A. Yes, because it's important: the road. And don't get anywhere.

They have had to wait months to send the recording and have the TP in their hands. Within that interval are some loose songs that you've uploaded to the network and that are versions. Has it been possible to alleviate waiting?

A. To alleviate the agony of waiting until the disc saw light, we started making these recordings. Driven by the reflections of the pandemic, I began to learn how to record on my own, bought some micro and a sound card and over time we were animating...

H. And it's been the best thing that's happened to us.

A. The group has enriched a lot because we have all learned a lot from our instrument, we have realized the mistakes we have made in previous recordings for ignorance... Overall, we've all learned a lot from Ugarte. The truth is that it has been a very successful experience.

B. They're also our best songs. Sorry to have versions!

Anari, Dut, PRB! The versions are Sonic Youth, CAN or Hüsker Dü. Does it help to give an idea of your references?

H. No.

I. You can make an idea, but you're wrong.

A. We will each say a different thing about this.

I. That is why we are debating so much. Everyone has their influences, and that is, in part, the reason for so much discussion.

H. In my case, the low of PRB! It seems to me to be a direct influence. Anariko ez. And it's the same, as I realize now.

They also published a video clip of the song Mission and faith that opens the album pending the arrival of the LP. It's emotional because it collects pictures of different kinds of direct, spaces, moments and people. A kind of thank you to fellow travellers?

I. Before we talked about the fact that in Ugarte almost everything we do with whim, and the video clip also looked like this. The water had several recordings made with a Super 8 camera, of many things, in different contexts. I wanted to bring all those moments together to be perpetuated. Putting everyone around a song was an opportunity to learn how to edit videos and, by the way, store all those moments for a lifetime. I did it no more, but now I really like to see, because it brings a lot of people together and many moments in four minutes and peak. It is beautiful because a reserved time has been left.

H. It's like a picture. When you see time, you'll see people who no longer exist, or who are different, or ...

A. Or places that no longer exist... In short, with that excuse, as I've learned to record sound, Ficer [Iker] has learned to edit videos. And the path we take is, to a large extent, towards what you yourself have done, unconsciously. Because, in addition, he also produces group t-shirts in his home screen printing workshop. We just need to buy a machine to make cassettes!

B. And let the riffs be ours.

The pandemic was declared between the second and third records. How did it affect you? What have limitations on the cultural sphere meant for Ugarte?

H. Surely we have been the group that has given the most direct support at this time. Since the occupied, self-managed, pirated, illegal spaces -- they're our favorite places, it hasn't stopped us. We also continued to gather, we were the only group I ever tried, in a space of 32 local trials.

J. I felt it affected the process. Not to the objective, because, as Haza said, we have always pushed ahead, that what was happening was happening, but it has affected the process. I consider myself a very plastic being, I feel influenced by the tide of people, and often my speech matches very much with public opinion, too. In this sense, this time has influenced me in the comfort I felt when singing, because I have seen it reduced. I have not felt as comfortable as before, I have seen myself in the need to face questions and questions that because of their situation were not common... and it is a pity, because, as we said, this is a source of pleasure, that it satisfies you, that it makes sense to be, and in that sense it has been a little annoying.

H. Disobeying things that are absolutely absurd, when the rules impose it, is a moral obligation.

I. That's what it took to do. Move forward, see direct -- because nothing made sense. We disobeyed and got legal tools to do it. We made the partnership and got the ICF, and we could make the permits to walk with it. We took the work to make sure things were doing well and to make sure we had our back in relation to the law as well. We wanted to be calm.

Let's go back to the last record. The listener will find collaborations of several musicians.

I. My most exciting cooperation is that of Julen Egia, a friend of adolescence. I met him in the village where he used to spend the holidays, I was part of the No Complyn team and has collaborated in the Mission and the Faith. I am very happy with the result and I love to have saved it. Because unfortunately, I don't have such a relationship with that person, and I like that person to remember her every time I listen to the song.

H. Boti [Roberto Castro] is another of my collaborators, friend for over twenty years, with whom I wanted to make a very hippie song. It came out great, Interludio is one of the songs I love most of all that Ugarte did.

And then there are collaborations from Joseba [Baleztena] and Miren [Narbaiza]. We've touched a couple of times, we've managed well, and I think by saying that I'm going to speak for everybody, we admire their work. That is why we made the proposal to them, and we are very happy to have received their yes, because it was a very nice collaboration. We love doing things with people.

You've created some new song during that wait between your neck and your head. Is the fourth album going?

[Yes, they respond at the same time]

A. We could have started recording the fourth album, we're already delaying it. We intend to record six or seven songs. We are excited because we will record the fourth album, among all. Above all I, but everyone else has also learned a lot throughout this time, and it will be a process until five. We're going to fight a lot between them until we shape the sound, and we're going to do it with poorer means than the studio that made us the previous recording. But I at least have a lot of illusions and a lot of desire to start. And as a preview, the album will be a little wedges, we already mentioned on an earlier occasion that it was going to leave us.

B. It's going to be so big that it's going to be minty.

H. Maybe it's not a record. We'll record some songs and see what we do with them.

Do you want as a group?

A. One goal might be for them to be completely independent, and we're on the way. We just need a manager.

H. In the ear, in the graph -- yes, we go towards sovereignty. I like that wish. On the other hand, I would like to touch as many self-managed and occupied spaces as possible. Although I know that what I say is about romanticism.

I. As a group, we live in an endogamy. We're a little bit bounded to an area where we're thrilled, but we're missing out. As Haza said, it would be good to know some self-managed and occupied spaces, turn if possible...