The proximity allows you to enjoy songs and artists. Listening to why and why the leap from distortion and friction to intimacy has been as interesting as the song. In fact, the Balmasedano Berganza has a rich trajectory related to hardcore on his back; he has militated in groups such as Estricalla, Hartzak Blues Band, Odolaz Blai or Hil Aia, among others.

They are slow songs, without too much harmonic complexity and simple in repairs. It looks like it seeks to create atmosphere by adapting and fragmenting letters to melodies, taking time to breathe, when necessary. And it doesn't come out of pitch. He has calmly presented his seven themes, dedicating time to guitar and voice, going up in what is needed, but not breaking too much.

In British tradition, they are said to teach how to speak in academia and how to make presentations in pulpit. Not the Basques, apparently. And in these sessions, most artists ask for forgiveness from their followers, because they don't know what to answer, or because they're not used to, or because they're ashamed. But the artist creates great complicity with his answers and reflections, as with the songs. And thanks to this, you can see more than a smile in the Marrums Cultural, making all the sessions special.

Berganza has chosen for the program his most rounded songs and has made us sweet and thoughtful: “It’s hard to explain why, but I do it often.” Dark letters “most looking back”, but not particularly pessimistic. He has also acknowledged that sometimes he doesn't know why he writes these things. And look at this, in fact, there's not always a plan to create songs. The songs come many times and “you don’t have to agree with your songs”, as a great friend said.

 

 

 

 

 

 

I remembered David Bazan’s Options when he played Akordatz and, surprisingly, offered us his amazing Strange Negotiations – I woke up the song and still don’t get bored. And yes, the guitar is similar to Eddie Vedder and sews melodies like Bazan, full of soul.

Although it has been an intimate and applausible programme, no more than twenty people in society can be counted. A few weeks ago, we had a Physis Versus Nomos concert at Donostia's Kafe Antzokia, and more than one friend asked, "Isn't there early selling? But without tickets we will not stay.” I couldn't hold the surprise. How can anyone expect that from a small group like ours? The answer is not that difficult.

Although many concerts are organised, few are shared in the media and in digital social networks, and until they get tired of sharing them – less bad than stories only last 24 hours. And what we always see are those of La Polla Records that fill twice the BEC, and Berri txarrak twice the Navarra Arena and Gatibu and Hertzainak. But the scene in Euskal Herria is much bigger. To stop being an exception to put the poster sold out, we should go to more concerts.