Is there a revolution without hunger? Does all hunger move it?

Inés Osinaga: It's hunger that causes revolutions, that reminds us that we're alive, the motor and the road. You have to get out of the comfort to find good wheezing.

You place an order for a song and return the words for a record. How do you give that punch?

Iñaki Bengoa: We did not deny ourselves, they said “will come”… and just the day we presented the orange album came Sarri’s proposal to make a full album. We were a year before we responded. We were thinking about how to do it, about the project, about the idea, about inventing the third leg. We didn't want to make a bacalao and guitar album with Sarrionandia, not a single disco-book. We proposed to the plastic artists Iñigo Arrangi and Juan Luis Goikolea their participation and changed the concept of the work, turning it into a box.
I. Osinaga: We found it interesting to remember the works of these two and the records of the time of Sarrionandia. We gave him a lot of laps, but in the end we found the way and where to get together: something that will be everybody's, but still everyone's.

What has Sarrionandia seen in Gose?

I.G.I. : No one has yet clarified this, but for its part it has been an ordago, to make such a proposal to a younger group that is not so standard.

And why did you go to them to ask them for a song?

I.G.I. : I'm a fan of taverns. We like the writer and the icon he represents. At first his figure weighed a lot, he was very idealized and gave us respect. But when we took that out of our head, ideas and songs started coming out. Working with him has been a great gift; what has surprised us most is the explanatory letters sent along with the words. At first we were afraid to change things, but then we had very rich debates.

You have always been challenging and in favor of reinvention. Is this work the biggest leap so far?

I.B. : The biggest challenge was the first album. Start playing in the Basque Country three friends in rock concerts with electronics and trikitixa… I.O. : The
third album, Gorria, was also a milestone; for the first time we bet on self-production. Reinventing is essential to motivate.

And what's been the hardest thing?

I.G.I. : Delegate and accept that not everything was under our control. But we were very pleased with the result.

Let’s go into the box… The song of the txalupa is that of the seafarers, it’s Habanero style.

I.G.I. : It's a very special song. Sarrionandia was very clear about what he wanted to sing to Euskal Herria. He sent us a compass with lots of details. In this song, we've obsessively searched for what he had in his head. We've put the microphone at its size, and we've put the pot on the song. She really liked that song and she doesn't like Gose.

The news from Bethlehem closing the box is terrible. It reminds me of Guernica de Picasso and Omega of Enrique Morente…

I.B. It has something. Graphic artist Iñigo Arrangi said that if that song takes you up, it feels to you.
I.G.I. I am glad that you have been reminded of the Guernica. The idea of this song is that in Gernika the birth of Jesus is sung at Christmas, and we have imagined how the story of a child who was born and died in Gaza in 2000 years will be sung there.

I liked to pronounce in its simplicity the word cat and in its boredom represent thus the urban passage that may suddenly emerge. What have you learned from Sarri in terms of word creation?

I.B. : Write very visual words, like scripts. It has a great capacity for synthesis, but not like Evaristo, which says everything in two sentences. Sarrionandia tells you in the whole song, reading everything.
I.G.I. : That is why we have had to make major negotiations with the slogans. In Gose we are very stupid, for us the motto is the title of the song and Sarri writes differently.

Guilt has many meanings and it is also the mark of the personality of our people…

I.B. : As that song approached, we decided it would open the record. It's a confession of principles.
I.G.I. : It is terrible to hear from Sarri this reflection on “collective guilt”. It is very honest and courageous, and even more so if it comes to someone who is in exile. In addition, I think it is much more constructive to blame than to co-blame.

The strange city of Ana is a simple and beautiful song written to prostitution and the situation of many of the present, which paradoxically can be turned into hit. You like to internalize raw messages, sticky melodies and choruses.

I.G.I. : We're all Ana! And yes, we've always thought it's an effective way for the message that we want to get to other ears.

Attractive banks. Banks have been targeted for a long time, even before the bailouts.

I.G.I. Yes, they're enemies. In any event, we have to tell Sarri that there are no savings banks here.

I was surprised by the arrival of the brothers Fuente, whom I did not know. Sarri is a rigorous researcher who wants to put people and events in his place… I.B.
Yes, no doubt. He sent us the handwritten score of a zortziko and told us that although Oskorri had made him a version, he wanted to make him another one.

Is it now our barricade dance that should be the current motto, replacing the Festivities of the past, also the struggle and other similar ones? It's time for music groups to reflect other messages, right?

I.G.I. : It is clear that yes. With this phrase, we had a discussion with Sarri. He wrote it at the beginning, but he retired it later. He thought he was out of place, and we didn't. It's our phrase, but she pronounced it. With this phrase we should make t-shirts and banners.

Music is a benchmark for many, and many of the slogans are from the 1980s…

I.B. : Achieved in the 1980s, free radios, fanzines, TV music programs… We thought the Internet was going to replace them, but that's not the case, and now we have nothing. There's more creativity than ever before, but there's no window. Soon, the groups we sing in Euskera will be about to disappear.
I.G.I. : The people who make music have a responsibility to be a little disturbing, even more so in the time when we live. We must renew the ikurriñas, yes or yes, and the barricades.

How has the creation process been?

I.B. : At first, we picked up the words and musicated them, but all of a sudden he suggested doing it the other way around.

What work is it, among other things, to assimilate cumbia so well?

I.B. : The Two D's told us that that's not son-a. We take the sound of those instruments, but not the rhythm.
I.G.I. : Similarly, we use sound, but we do not touch fandango.

How have such a special and multi-format job taken in the Middle Ages at a very cheap price in these times when no records are sold?

I.G.I. : This work has been challenging for self-production and making it available to everyone. We could do it in a bigger, more expensive format, but we didn't want it.
I.B. : Self-production is not militancy. If record labels guaranteed the dignity of groups, we could work with them. Today's situation is a disgrace.

I'm talking about Tim Lathan, who's blended the record.

I.B. : Jonan Ordorika offered us many times. It has an amazing resume, but working with it has been very easy. I thought, Tim Lathan, we didn't go to New York to see him work. He asked us to explain the mood of each song and “engage” very well what we wanted. We weren't looking for perfection. In addition, at the end of the work, he told us that his wife really liked it, and that's the important thing: this record we've done for punkyen girls.

Is it a job to enjoy all the senses?

I.G.I. : The album will be pirated, but you only have a part of Gosariak. A sculpture that you hear is a painting that you read, breakfasts dedicated to the mind.

What is the next day to do this work?

I.G.I. : At the end of the record we had postpartum or post-coital depression. But now we are very comfortable, it has been a great gift. Our great responsibility was that he liked Sarrionandia, and we know he liked it.
I.B. : Now we just have to sell to keep producing ourselves.

How are you going to bring this work to the direct? Will Iñigo and Juan Luis also participate?

In 2015, we will present it until April, there will be few actions. We will be standing and with the audience standing, it will not be the traditional concert of Gose.