Many times we look at the stage looking for referent girls. Let's turn it upside down. How many girls do you see above the stage?

The musician model has been here predominantly male and also spectator. I express anger and anger with rock and it serves me to deal with difficult personal situations. Although I've seen the guys sign up in the front row of concerts, I've often felt the girls tope, and not for lack of desire. I know that well, because as a teenager, I felt the same thing, and today, when I was in the front row of the bedbugs, when most of the people around me were men, I was amazed. Unresolved personal conflicts persist in us. Outside Euskal Herria, on the other hand, I've felt freer women at concerts. Abroad, there are more creators in public and more spectators than creators. This causes movement. Here we women have been the spectators of men's products.

You have produced the album. We are talking about a model of understanding music and culture, an alternative to Basque culture.

It is important that the experiences have been lived and then choose the path of each. One of the albums we released with Esan Ozenki from Jauko Barik. We were with Keiken Oihuka and in Xarman we started self-management. Car production brings a lot of work, but the benefits are also greater. There is control over one's own work and one can broaden one's philosophy. If I make music it is to offer it to the public, and therefore, I want the album to be accessible to anyone, without being conditioned by an external company. In Euskal Herria, culture wobbles, and more in the digital age, when any music can be downloaded from the Internet. The musicians here don't have as many followers as they did before, despite the fact that they are more and more groups and the offer is more varied. If we were less before, there was a passion and an illusion to move in favor of the natives. Faced with a great opportunity, the place has lost strength, but it is also a matter of conscience and education.

There is anger and denunciation in his letters, and that is what he shows in his concerts. Does rage have strategy?

Rage invades us all when we look at things we don't like. For me, rock is a way to express it, but it's not a strategy. It comes from within me. I've had dreams since I was young and I've tried to support them. In adolescence, I thought we could change the reality, but as the years go by, I've realized that instead of improving, they've patches. And you have to hear that we are going better! We are equal or worse. There are people around who don't feel that there's machismo, and that refusal hurts me. This kind of attitude leads us to more repression of women.

I'm going to comment on two songs, bulimia and sexist violence. They're not named many times.

In the rock of the Basque Country there are voices that are barely heard. I also wanted to talk about injustices against women in the On. There is now a lot of talk about gender-based violence, and it seems good to talk about it. But there are many other problems generated by Machistan cultures. On this record, for example, I'm talking about the girls who are going to visit the prisoner boyfriend mortgaging his life. It looks like a hidden little world, but it's the reality of many women, and many times, full of suffering. Men can talk about this and other issues, but they don't do it on a regular basis. There are men with a lot of empathy, but they lack to translate that empathy into music.

You talk about the importance that the image empire has given to our aesthetic. In the world of musicians, this influence is not foolish.

You look at the one on the stage for an hour, yes or yes, but I don't get more handsome about that. I'm going to have fun and I want to be comfortable for that. The men quietly offer their music in slippers and slippers. Do women have to take care of the image first and then the music? I have other moments to decorate.

This reminds me of the holes. He's been in music since he was 17 years old. What did the movie tell you?

He told me about the Fermin Muguruza project and invited me to participate in a tour. In exchange, he has participated in the song On of our album. I thought it was a good idea and it seemed to me. On the one hand, it's beautiful that several female musicians talk about their experiences. On the other hand, there is a narrative of fiction, and that part has caused me pain and anger, to the extent that the model of woman has been painful to me. It's more important to be a musician than to reclaim an image. I've been in music for several years, and I know how much and how to fight to get a place, what it's like to defend a song when the whole audience is made up of men. If you want to claim feminism and to do so use the freedom of the body, as other movements have done, I agree. But I needed a documentary about female musicians, and there's hardly any talk about musical issues. I appreciate the film in any case. It has moved my bowels and served me for car criticism and analysis.

Your music is melodic and strong. Many compositions are yours.

Songs have come out on their own. I've always had a special connection with the Denis battery, and we both got off musically, we got the best out of us, along with Ibai. If there is no cumulative relationship, it is difficult for things to function properly. We already have a connection. And the illusion. The concert is nice, but before and after is also good, being together and enjoying.

There are also traces of personal experiences in the letters. The need to say goodbye to the past, but the difficulty of living in the present.

We are what we are by what it drags away. What we have accumulated and what we have received from our ancestors. I've been passionate about carrying the backpack from the past, and sometimes it's hard to pull it off and start from scratch. Now, in the song, this feeling appears. Much can be done to change the things of the past in the future, but the important thing is not one thing or another, but the time.