Do I live, colorful album in supposedly gray times?

That's right. Lately, I feel a collective sadness, and I think we impose ourselves to a large extent. After all, we are the same people as we were ten years ago. It is true that there is an economic decline, but it is nothing more than that. There are things that light up in times like this: creation can be one, talent. I believe that as long as there is youth and involvement we will face everything. I wanted to escape those apocalyptic messages. It is an old vindictive message: while we are alive, there is hope.

In addition to the skin, the songs also show the diversity of colors.

I've looked for that. The songs are very different from each other. At first I had a number of opposing views; when I was teaching the chosen songs to my friends, I was told that I would wake listeners. But I think that enriches the record. It's not a linear disc in terms of sound and music, there's a big leap between songs, but the thread that connects them is optimism. I don't know if I've been right or wrong, but that's what I wanted.

Is it a solo or teamwork?

It's teamwork. Even though only one idea puts it, teamwork enriches. I like to hear people's views. Furthermore, it seems to me that the lack of listening capacity is one of the major shortcomings of society. The songs have been created by me and I have written the letters, but to that initial base we have shaped the band [Josu Jungitu, Iker Uriarte, Raül Vera, Asier Yarza and Antton Aranburu]. I was sending the songs by e-mail to others, and when we got to the venue, we democratically decided what changes we would make. In the study, Aitor Abio has also helped us a lot in production.

In the song Tactics and Strategy you have used the words of Mario Benedetti. Why?

All the other songs have the words that I have written, but Benedetti likes it very much. I love the poem Tactic and Strategy; I have it in the fridge with a magnet. I am still touched by Benedetti’s words, although I have read them many times. I wanted to pay a little tribute to him, and it occurred to me to make a song with that very special poem. It normally brings those concepts of war to love, telling what it does to get the love of the person it loves. I have made a rather free translation, but with what he counts is intimately related.

The song that has been gathered in the jungle also has its own particularity. You've worked on the subject of environmentalism, but from an animal point of view.

I love Paul Simon's Graceland album, which is a tribute to Africa. I thought I was going to make an African song, too. I did a little research until I got an African rhythm. As for words, it is a vindictive song, but it is disguised. I made the song looking at the kids, but it has a sarcastic point, and it also has a message. Animals come together in the jungle to identify their most important issues and problems, eventually realizing that the main problem is human abuse and developing a strategy to combat it.

Even if you're not Gasteiztarra, you've confessed your love to the Gasteiz song wake up. Despite being the capital of Euskal Herria, it seems that many times we put it aside.

I am Biscayan and I am proud of that. But I've been in Vitoria for many years, and it's given me a lot. I think it's a very beautiful city, comfortable and nice to live. But it's true, my friends also ask me what the hell I do in Vitoria. There's a certain misunderstanding and they think it's a boring, salt-free city. I would say the opposite is true, since the 1990s there has been a very strong cultural movement in Vitoria-Gasteiz, which is facing the most right-wing sector in the city. I think in the world of music, it's also at the forefront, musicians have emerged from an incredible level. In addition, to be so small, it has a very powerful scene, more powerful than that of Bilbao, Pamplona or San Sebastian, for example. In other capitals, it is often difficult to find venues for concerts.

So, despite publishing the album, isn't it easy that they can be offered live?

The picture is not easy. Call us, we want to play! We have to demand the direct ones. Fewer and fewer people are going. We're creating cities that are just dorms and crumble between the weeks. We must demand that the cultural city is a creative city and that creation must be given the space necessary for its socialization. Otherwise, what you create stays at home and society loses a lot. We need direct in all artistic disciplines. Today, if you're not a famous artist, it's hard to get on the stage. There are more and more festivals and larger groups are coming, but for local artists there is no showcase.

The Music Industry Association has recently pointed out that the Basque music industry is about to die. Do you agree?

Not quite. I think there's a lot of talent, more and more people playing very well. You can see the influence of music schools. However, if all this is not socialized, it is of no use at all. That path of reintegration is the one that is in danger of death and institutions should launch initiatives to change it, investing money and otherwise. Suppose bars are charged less tax for hosting concerts. Many things can and should be done.

And yet you have gladly dedicated yourself to music.

Musicians know that this is not going to be our trade, but in two years to take a record and to be able to give some twenty concerts is a milestone, gives joy. If you're successful on the road, better, but I'm not looking for it. I do what I want, not what works. If you get into that game, it's over. The important thing is to enjoy.