Although you have changed your colleagues on more than one occasion, the essence of Lisabö is not lost. How do you manage to maintain that essence?

Karlos Osinaga: The need to change several colleagues has left us empty, but we have always managed to maintain the spirit that we want to reflect, because when it comes to choosing new people we are not looking for virtuous of music, but those that correspond to the philosophy of our music, and thus, it is easier to maintain coherence.

Given the strong concerts you offer, is Lisabö a live group?

Eneko Aranzasti: I think it's a direct, disco group, we like the two facets. Many groups take the album to play live, but we take care of both. Some have told us that the details of the album are lost in concerts, but what we lose on the one hand, we win on the other, in intensity, for example. We emptied the guts in the concerts and tried to keep the songs alive throughout the tour.

The words have been rewritten by Martxel Mariscal, the sixth member of the group, as it is usually said. They are words full of anger, melancholy, bitterness. Is life as beautiful as bitter?

K. Osinaga: This phrase, like many others on the album, reflects well the world of contrast of Martxel's texts. Some say that words are dark, but we, at least from within, do not see them as pessimists, but as a general diagnosis of life: that is, what is there and from there we will live and love life. Martxel is able to represent in a single sentence a complete portrait: an abstract but very clear photograph, with its contrasts and complements. Music brings the words to another level, or vice versa, the abstraction of music acquires all the sense it needed when dressing up with the words, it's magic, and the result doesn't seem obscure, it's liberating. What happens is that to liberate you first you have to make the whole trip, plunge yourself into pain, but not to stay, but to open the window and get out of it.

You combine lyricism with hard tones. Is your modern poetry?

R. Aranzasti: What we've achieved is that Martxel's words are merged with the music of the group, more than any other record, and that's a big deal. He knows how to read our music and we hear his words. It's something we've worked on, we've collaborated on all the time, and chemistry, getting that meeting point has been amazing.

Following the Posthardcore style, is the last album more crude?

R. Aranzasti: One of the main changes is that this time we haven't put any cello on it, because in these songs we didn't find a place, and that's been noticed.

K. Osinaga: A month before the album ended we didn't know how many songs they were, the songs have told us where to go, it's been a game between them and us. Like the current, songs can take a curve, we can take another one… and in the end comes what needs to be taken out. We have always done so, because you can try to force the direction, but if you are not comfortable…

R. Aranzasti: We always try not to close the doors and not to rule out any ideas until the end.

K. Osinaga: And the result is that there are fewer moments of quiet than the previous album, and many raw moments, violent episodes. It's a different job, but on the same basis, goats are always in the field, although there's an evolution, or an involution, you don't know.

Every song seems to be a lot of work, with the arrangements and listening.

R. Aranzasti: More than songs, we look for sensations, we try for months looking for sensations.

K. Osinaga: Yes, we spent the months spinning and suddenly caught you, getting the feeling you were looking for. It's important that you know how to repeat the sensation you get from the tests on the recording of the disc, and that's how you get there, what path you take for it. After all, despite starting to assemble the disc skeleton in the last month, the previous work is already done.

R. Aranzasti: Yes, unintentionally, we are working every day, even if I am not conscious. The result is not a last-minute thrombus. The sensations also have to do with the sound and recording in Garat, for example, the sound taken by the batteries there produces sensations different from those of the room. All of this also influences the development of the disk.

Within that “post”, should we understand the concept of melody differently?

K. Osinaga: For me there are very melodic passages, but someone can ask, and where are they? For me, sometimes a noise can be a wonderful melody, or keeping a strange chord in time… For example, keeping the same chord for 20 seconds, adding small changes to other elements, can be a nice harmony.

Karlos, the games you make with your voice are special: sometimes, more than singing, they are screams, or they are recited words…

K. Osinaga: Yes, and in some cases they didn't have to be that way at first, and they're done. But, in line with the previous answer, even in those cries and words recited, I find the melody, perhaps very linear, the effect that the nuance produces is immense.

You, Eneko, touch the battery with Ivan. It's not common for two batteries to work in the same group, you get it right.

R. Aranzasti: It's about looking at each other. A lot of people tell us that what we do the two can do one, and for some things they're right, for others it's obvious that no, because we would need four legs and four arms, but otherwise, when what a person can do the two together, the result is different: he has more strength, he has a why.

K. Osinaga: It is not a distribution of blows, if in the tests either is missing, it is noticeable, there is a great lack.

R. Aranzasti: The truth is that I've gotten used to it and when I miss Ivan I get very different, even if the other musicians are in front of me, you have a special complicity with the other drums and in the concerts we have to be very above each other, it is very rich what comes out of there. It's nice to see, what it has is to see two batteries playing on the stage.

Since you started, you have been praised by critics and you have become a cult group.

R. Aranzasti: In Mondosonoro magazine, Joan Luna says that although they have given us the cover of this magazine and that of Rockdelux, although our 2011 album has been proclaimed as the best, we will not get any more followers, “they will not add followers to their cause,” he wrote. It is clear to us that we are not a group aimed at the masses and I do not believe that now, because we receive good criticism, we go to every concert by Lisabö 600 people and we are going to sell 5,000 records. However, we must thank the good criticisms, but there are also people who, as in everything, have a more elaborate approach and vision, and make you more excited than appearing on the front page when you read what is written by a critic coincides with what we want to convey, which is complicity.

K. Osinaga: That's right. And at the same time, thank you for giving your skin because normally in those cases you give it for something, and choosing a team like us means that the director we really liked, who has wagered on us.

Given the support of criticism, is there a gulf between quality and commercial success?

K. Osinaga: There are ways to understand music and the criterion that has prevailed today has turned music into a product. Instead of being a form of expression, it is a product of leisure and what in some places is understood as music is not what we understand as music.

R. Aranzasti: In these times of musical crisis, music has become more than ever a product of rapid consumption, sheltered by commercial brands. Involuntarily or intentionally, we have always tried to keep ourselves out of this system.

On the Bidehuts label you created with Anari, Hotel and Ino Ni, you also follow a different philosophy.

K. Osinaga: To start with, we say it's not a label, it's not a label, it's a label, even if I don't like the word, a label, so that they identify when it comes to spreading the work of the group, but we drive self-production among our groups. It's not about getting economic benefits. In addition, Lisabö publishes it under the Creative Commons license.

Soon you will get the Shameful Animal Well vinyl. What does vinyl bring to the CD you have already edited?

K. Osinaga: We buy everything we can in vinyl, we love vinyl. Buying a CD has no morbid, the most absurd thing is the CD, starting physically with the presence of one and the other as an object; it may be fetishism, but we are living it and that is why we want to go out in that format that we love our music as well. In addition, it is also noticeable when listening: first the master is engraved to make a vinyl and it is performed by analogue compression, because in this process it gives some touch to the sound. It may be small details, but I have heard records that I have recorded myself, then I have heard the master, and it has something… I don’t know, it may be a self-suggestion, but I notice the difference.

R. Aranzasti: Since they started recording music, they've taken out a lot of formats, the old ones disappear as the news appears, but the vinyl has always stayed. It may also have to do with the philosophy of music that we were referring to, with the current trend towards constant consumption. But vinyl has stayed there, and in specialized stores you will always find vinyl, in all musical styles.

What purpose do you have with this album when you have just started the tour?

R. Aranzasti: Our intention is to try to have good sensations in concerts and get feedback with people.

K. Osinaga: More than search, see what we found. This is a passport to meet places and above all people, to meet our friends who are already, in Barcelona, in Madrid or in other places where we have been before. The presence of these people is a great luxury.

What does Bidasoaldea have to be the quarry of so many teams?

R. Aranzasti: It's no coincidence. The hobby for music comes from afar, the activity of the years bears fruit, and also the attitude of the people is important. People who have been able to take the new groups and musicians in a natural way for many years, without looking from above or proudly. There is respect and desire to meet beginners, without creating elites.

K. Osinaga: The music made with this attitude reaches you further inside, you internalize the influence of nearby models. Our people have that base, but with musicians from Madrid, for example, I have seen that most are very professional. It looks like they're making music to be a little bit higher, and the naturalness disappears. The starting point for these people is not that you like to make music and know where the road is going; the starting point is to want to reach a particular destination and what path to follow to reach it.