Your first song, Kancion_d_trap, you pulled it out two years ago.

Luis: 11 September 2021. Ours was the second most important attack in the history of that day.

How did the group emerge?

Martin: Quarantined, quite casually. Toni and I were making a video call, we were listening to the trap song together, we didn't like anything, and we said, "We sure were able to make a better trap song." The idea of the group emerged there, but it did not materialize immediately.

Toni: Perhaps one of the days that we all stayed at Martin's house emerged. We had the idea of recording some things, and we started experimenting with sound. In 2020, we did the Instagram of the group without music, and Luis was doing a lot of things. The idea that people were a musical group that doesn't make music was graceful.

How would you define Kalipotxo?

T: The first biography I wrote for the group was “3 young mental cacao 1”. We're a few guys. This group started as a joke, and although it's serious now, grace is still there.

M: We talk about the issues that concern us, but there is room for everything.

Tell your influences, inspiration.

T: We have influences, but I think we do not apply them. Perhaps Martin does, when he produces it.

M: More when writing songs. I hear the new music coming out of our scene and I would say it feeds me. I am also influenced by the Andalusian electronic scene, such as Califá¾, Kievra or Robzzz.

T: In my case, the music I hear has nothing to do with Kalipotxo, but the trap and “modernity” scene that has been created in Euskal Herria since 2019 has a lot to do with us.

L: We don't have fixed gender, but I would say we have our style. The Chill Mafia is perhaps the one that has influenced us most in the modern scene, but we do not do what they do: Chill Mafia started writing ironic songs, but I would say that Kalipotxo regrets a little more. We are still postironic and ridiculous, but we also see in our songs a very raw reality.

What is your creative process like? Composition, writing…

M: It's not linear at all. Maybe I have a base, just as we start with an idea by Luis, or Toni has something written out there…

T: In mobile notes, we put everything that happens to us, but the process changes from song to song.

L: We really like to work on a subject or gender. We pose the theme as the general root of the song or we want to experiment with a new genre. We do not have an absolutely fixed process, because at the moment we have not done much. We're not that hardworking. Currently, the “cleaning method” is the most widely used: 5,000 written things and take their best.

Error Bakui produced it at home, but the new EP with NKO and Krivex did it in study. Is there a big difference?

M: I mixed all the music in my house, with some good helmets, but now I hear the mix of the album and I think things are missing. There is a big difference: you hear things that you didn’t hear before, have better microphones and above all a place to make noise… You notice a lot of change. Error We recorded Bakui in a friend's closet. The works produced in the study are better mixed from the beginning and better heard.

T: All the way back to school with the ungingang is recorded in study and the quality leap is noticeable.

However, Error Bakui was very welcome, right?

T: It was terrible. Over 4,000 listeners, people have talked about the album, they tell us it’s very good… I think listeners didn’t expect us to do something like that.

M: Sometimes it happens that the album is taken out and "killed" in it; the "hype" is over. But this didn't happen.

L: I took it with surprise. I've been doing art for many years, and I've never had to do anything and emote people. It's beautiful, it's not just a matter of numbers.

Let's talk about the letters. They repeat many themes and are very strong.

L: Error Bakui didn't emerge from an initial conceptualization, we didn't have any fixed ideas, just a lot of loose songs, and we had the idea of putting all the songs together on a record. So I got an artistic obsession, and I saw that the songs were similar to each other, and I tried to bring everything together. Ordering, changing some letters, introducing some new ones… For example, the sky is an element that you see in different places and the general atmosphere around the songs led me to that connection. The next project we are doing from the very beginning from a central theme.

T: In the end, we live in similar realities and we sing around what concerns us.

It seems that the musical scene of Trap’s lap is being created; in Bilbao there is movement, throughout the Basque Country…

L: There is not much in Bilbao. There's Lauve Sounds, with NKO, Krivex, raperos, but not much more. I think it remains a marginal scene.

T: In Pamplona our scene is moving more; in Bilbao, above all, there are punkis. Chill Mafia had a great influence and no one has yet gotten the spin they had, but sensations will improve as people get used to that music.

M: We are in a reaction scene from the Basque Radical Rock, there are a lot of young people looking for different things, and the new musical scene also gives it. Purists who have always been, of course, will continue there, but more and more people are looking for new things.

You have uploaded images to social networks that lead to a new artistic direction; in analogue, leaving aside the digital, something more “organic”. How will your next project be?

T: We want to develop new areas and develop new themes in a different way. We will address issues that concern us more, in a more “savage” way than before.

M: We want to experience more about themes and sound, because in Error Bakui we hadn't done too much. We are still at the beginning of the project, there is a lot to develop.