Before you put it on sale, you put the disk on the net for free…

We put it in free download at the same time that it was put on sale. People have been surprised, but for us it is consistent. We've downloaded a lot of records, and our music is the way to get to more places, we don't want to set limits. You have a physical format, but also others.

In the presentation concert you mentioned that the five musicians of Glaukoma do not make money from the group. Is it important for you to differentiate this?

We have great respect for those who live in music, but our situation is not the same. But around us there are those who think that's the case, and that's why I wanted to clarify it. Dedicating 24 hours to making music can be very good, but at the same time your independence and your freedom are not the same. We can pull out the disc we want, when we want and tell it all. That is very important to us.

You are on a very dignified but humble record platform, but more and more people follow you. How have you lived it? Do you have vertigo?

Bonberenea offers us the infrastructure, but every drive is self-managed. Vertigo? No. Listening to more people does not mean that we have to work differently, and we are very proud of it. I have to go to work every Monday as well. But I'm glad people like the songs. Moreover, the fact that more people listen to us does not affect us when we compose, we should not pay any attention to it.

The first two works are shorter and easier to hear. But what's now is a much darker, long, conceptual record. Contrary to this time when more songs are consumed than records?

We have grown up with records, although singles are common in the sound system culture. But for us, the working format is the disk. We don't care about fighting the trend. A couple of years ago, we started collecting ideas, recording improvisations -- and we didn't know we were going to make a double disk. We were completely open, and so it came out.

Glaucoma works very round, sticky melodies. Also in Kalima, but much more hidden, this album is darker.

Yes, it's a darker disk. We are older and now it is Glaukoma Kalima. This is our conception of the world. In addition to dancing, we like to walk in dark environments and textures. This album has everything: 13 songs, an interlude, hard hour and peak. That allows you to do everything. We're not always angry, we're not always happy, this record is a reflection of it.

You are above all a fan of ragga, jungle, hip-hop… Also the others? You can see that there are musical tastes of all kinds among you.

Yes, behind there are all kinds of tastes, but in part we are all fans of those styles. We come from different places, but what unites us is reggae and rap. We drink from many styles and our format is more that of a rock band, reggae bands do not use distortion at all like us...

Kalima's birth has lasted a long time.

Yes, but it has been intentioned. Two albums, a tour, a joint work with Bad Sound System… We were at Christ’s pace and decided to take the time to make this album with peace of mind. It hasn't been a hard drive. The ups and downs are always, but we have done so with the mime and taste we wanted and it has been. Almost a year of dedication: composing, writing, recording…

And you touched the roof with the sound.

Yes, we are very happy. This time we've got a better understanding with Tx [Karlos Osinaga, sound technician]. We have always understood each other very well, but this time we have taken a step further. On the first record, we didn't know what sound we wanted, and then we struggled to put words into what we wanted. In addition, Tx has developed more ideas than us. He's a teacher, and one of the premises we share with him is that he has to be organic, but respecting that is about getting to where.

Did you stay comfortable writing and singing? Put into the cave that word writing process, what tends to be hard, hopeful?

I've had more time to write words and I've been more disciplined than ever. It's a good thing to be able to work like this. I have mourned, laughed, angry… I have passed all the anemic situations.

The group consists of very large musicians; and if there is any doubt, there is the instrumental song Recreation.

It was the album that I needed and we too. After all, it is I who gives veneer to all songs and does what it takes with an instrumentalist. We're a band and we go beyond reggae and rap. In fact, we function as rock groups -- making them all together.

If I had known that a song was going to be on Gaztea's list, would you write it even more raw?

[Laughs] I've lost a bet on that. I didn't believe it, but we're very happy if you want to put it in. Songs and words are good and the important thing is to spread the song and the message to as many people as possible.

You have written the words in a year, but there are some of the most up-to-date ones: for example, the PNV says that it has sold us to have more ertzainas.

Yeah, that was the last thing.

And there is the Inheritance, which coincides with the events of Catalonia…

That’s already written, but as the topic of Transition is almost eternal… Unfortunately, that will always be current.

The lyrics of your songs have always had a strong criticism towards the nearby, but on this album you have positioned more, here there is no place for the joke.

It's been several years since we started, we've also known the music industry, we know what's there. So I got the words, stronger, but doing the same exercise as before.

The design of the disc is as elegant as it is raw.

It gathers everything, all concepts: desert, sand, sea – precisely, direction of the album –, gender issue – Barbie and Ken – slaves – with suits of concentration camps –, getaway… We wanted the design to make sense after listening to the album.

“There are no funeral bells, this has only just begun, the land that was dry has become green.” Will the revolution finally come from rap?

Leave in the hands of hip-hop the responsibility to make the revolution… beware! One of the concepts of the desert is that in Tolosaldea and the Basque Country, in addition to some exceptions, hip-hop and reggae has barely been in Basque. Now, on the other hand, it seems that young people are increasingly listening to reggae, hip-hop, reggaeton… And the Basques are looking for references in Euskera: Bad Sound System, Ziribilio Sound…

Hip-hop buds young people…

Yes, but the sound system, the reggae, catches us more around us. But after all, reggae and hip-hop are the same for us. They engage because they're very real, authentic musical styles that tell you what young people see, and that identifies them a lot. In Euskal Herria I do not know what will happen, but it is true that rock and roll is not a style that is already heard in the world. I really like it, but it is no longer a benchmark.

What does the southern wind bring us? And what should we learn from the South?

Those of the North of the world despise the South, but in the South they know how to find happiness more easily than we do, they know how to live at a different pace. We have a lot to learn from them.

“Kalima, at what price we sell our soul.” How miserable we are all…

Yes. We are all slaves. And as slaves, some are more conscious, some are very happy to be slaves, and others less happy. What is Kalima? The current desert, postmodernity, the chronicle of a century without questions… In fact, today there is no lack of answer, but a lack of questions.