How do you create the disk idea? Why did you want to do it?

After the Maps album I was very comfortable, but I wanted to do something more dancing, but it didn't come out. That's why I've made this album: it's not music to dance at two in the morning, but it's more moving, more disc.

I did two or three songs and I liked seeing myself, I realized it could be turned into a record, but there were many things among them, for example, a record made in collaboration with Pelax. In the end I wanted to finish and I made three songs to complete the album. But if not, it's been a three- or four-year process.

It's more summery.

I knew it was going to come out in summer, and I wanted to put it all together. Rhythms and all aesthetics are also hotter. If this were to happen in November, it might not make that much sense. Even aesthetically, I wanted to give it that direction. I think it has stayed very well with the enormous artwork of Julieta Metralleta.

Objective fulfilled?

The goal was to have a record for me. It's selling pretty well, and we've opened it up in quite a few places. I brought it out with Elsa Records [the hallmark of the Dabadaba room] and it looks like it's the one that's selling the most. Being the only DJ material you've pulled out isn't that strange, people will surely hear more Vulk than my album (ja, ja).

I also think it's more playable, but it's not as clue, the bass drum plays black notes all over the record.

I'd like to know how to make techno or house, but it doesn't leave me. What comes out to me is making 110 bpm songs. Just as in the next album, I will try to go deeper in that direction.

And why does he always go to that place?

The truth is that it is also a commercial decision. The light bulb is played all the time in black or certain tempos are chosen because they are best sold, as it is easier to schedule this type of music at two in the morning. Mine gets better at 21:00, but it's not a band and you're not hired to give concerts, so it's a very ambiguous terrain. More venable would be techno at 120.

You prefer the Gangsta Funk style.

All my background is hip-hop and funky, and I started listening to electronics not so long ago, about five years ago. The G-Funk, the P-Funk and the one that has to do with Funkadelic has always amazed me. I liked the whole rap culture of West Coast more than New York, for example. So, goats always go out into the field, in the process that I'm doing, I get nothing but a slap instead of a fiery of the bass. Sometimes I try, but then I think, “This is more handsome!” This album has also been a tribute.

Do you make these basses with symptoms? Or do you prefer to go to the instruments?

All in all, it's often a bass, a low sample, and maybe a note that a friend has touched me; and with all three, I make a puzzle, riding different melodies. Both melodies and textures.

As the samples mentioned, I'm interested in the philosophy behind it. For some, it seems to be copying, but it's actually just the opposite, right? Accept that you build on what others have done to create something new.

If you samplea a a group, your sound will always have a touch of that group. If you samplea bad quality audio, it will always be what you do lo-fi. Another thing is what you do. Everything can be samplear, you can also samplear a Youtube mp3. That's where dogmas come in and things like this ... There's also someone who samplea with a diamond needle!

The theme of times is also there, it's not the same to fuse 40 seconds or 3 of a song. I'm almost always going to look for loose things. When I go to a store, I look at the vinyl lines. If there's a lot of clues on the records, you can see it on the grooves, because they're together, and if there's a few clues -- a piano or a solte-saxo -- there's more space between the grooves. There I find jewelry!

Also on this album have you sampled everything from the vinyl? What does that job look like?

I try to do that, but there's everything, there's also digital. What I do from vinyls I do with digital sampler: connecting the player to sampler and colliding – that is, cutting the clues – then I reorganize it to the letter.

And why not take it from Youtube?

Because it's much more fun, and you create different textures. In addition, I like to take and store physical vinyl, more appreciate and take care of the content. However, I am nothing purist, I also take them from the Internet.

Doesn't creation limit you to the vinyls you have?

Of course, but I decide. At first it may happen that I have a sample and think you can make a song from there, but I don't like it. I try to mix more, add more pieces... It's called Mashup the union of two songs; I maybe make seventeen mashup in one. It's a lot of hours, but for me, the most fun thing is that.

In the previous work, the base was the sample, and based on that, I built the whole song. In this I have done more than two, sometimes the base is low and then I put the sample in. My theory is that almost everything can be sampled and almost everything can fit anywhere. I therefore seek absolute freedom.

To samplear something especially endearing?

For example, there are things that I like so much, because I don't samplea, because I'm not going to improve them. If not, I love everything from [Eumir] Deodados, like Gil Scot Heron, for example: it has records that are all potential samples. You can take just one minute of the flutist Herbie Mann and take 20 samples out of there for songs from all over the record.

But you also have to clean those samples, how many can be modified?

Cleaning is almost impossible, with some frequencies yes, but limited. Sometimes you have to annoy and get in the noise, and other times it doesn't make up and you're done. But in itself it is possible. That's why I'm also looking for loose things.

Recently, you said that there are more and more DJs and Donostian producers.

It has always been and seems that the scene is stabilizing and improving. I'm new, but in every city I see new mobiles. It's been a border festival recently, I've been to the Harrikada Festival of Ozaeta and things are done in the gaztetxe of Bergara. Playing occasionally in these kinds of alternative festivals is nice, not always in rooms or in bars.

The opposite of the rock scene.

Yes, we always want the opposite of what we have!

Music producers, DJs, are more open to other musical styles than rock enthusiasts, right?

I think that is the case in general, among musicians and also among ordinary people. One of my crew is more easily put in a rock song than a non-typed electronic song. I don't know if it's openness or a matter of taste.

There are also many prejudices.

Yes, it's true that people think we're not touching anything if we don't go with battery. The first thing: “If you don’t want, don’t come.” And then it is true that we are not doing live jazz, but I can say the same after seeing the best rock group in Euskal Herria, “yesterday I saw Herbie Hancock and we started to compare it is a shit”; but it is not necessary. If you want to be purist and combative, you can always go a step further and don't stop anywhere. I think this kind of opinion is a flurry.