Paxkal Irigoyen feels shy (Ainhize-Monjolose, Baja Navarra, 1988). Not only on the stage, but also on the stage, where he speaks in half a voice, with a smooth intonation. But it's not because of that without conviction. He has resided for about four months in Zumarraga and Urretxu, in Gipuzkoa. And he got us in a bar there. “I love bars too for concerts.” He has worked on numerous musical projects: over a dozen – Tud, Zezenaren taldea, Andere Xuria of Bide Behi…–, but in 2017 he published his first album with his name: Consumer product. Far from being a product, what he likes is to know many corners, gather experiences in them and give his own. The journey through Europe and the collection of experiences are now the challenges it faces. Barcelona, Italy, Berlin… Whatever comes.

Is he considered a wandering musician?

I guess so. Lately I'm just making music, I've acquired that habit, and when I'm alone it's easier to move around. It doesn't just have good things, but one of those advantages is lightness, mobility, it doesn't have the weight, the complexity of working on a team.

What does a musician learn in that journey?

Inevitably it means leaving your comfort zone, acting in front of new and different audiences, which brings new experiences to the musician.

Now you are going to go to Europe. Looking for new musical experiences?

Well, whatever comes, but I'd like to meet new people, new musicians and new musicians, obviously. I'd like to learn things, build up ideas and take a new record out of all that, why not. That's right, to know what the process will be like.

What is it that, like you, plays so many musical instruments?

I bought a big bag for this trip, and there I put the saxophone, the synth, the table, the cables -- all I can. The piano doesn't. But the guitar does, always on the back.

When you’ve been to Zumarraga-Urretxu we’ve heard three or four different performances. Inf! You've worked with the group and Alba. Do you understand the music, collaborate with other musicians, share it?

Yes. Music is working with others, you learn new songs and molds, and so you share time and space. There are some music that doesn’t make them more beautiful than to hear them, and the opposite happens, but when you meet good people why not… With Txost! I've had a lot of freedom to make my contribution, at first doing small things and slowly getting into the sound of the group. They do, they play the melodies freely, and that's beautiful. The new album of the Alba group will come out soon, they have two songs in which the trumpet appears and in that live they asked me to do those fragments of the trumpet. And I really enjoyed it, because they had given an amazing concert.

You also presented music for a dance show in the movies. You heard your music, in the perfect darkness, but not live.

Elirale is a Senpere dance company that has created the Artha show. I was asked to create the soundtrack, and last year I created that music. It's a music for the spectacular, for the direct. I also wanted to meet on a record, because it's the custom I have. I don't know if it's a good decision today, but I wanted it to be that way. After creating a music, you can't listen on the internet. And I felt the need to show my work. Today you can hear it next to the spectacular, and that's why we did a hearing of the music itself in the movie theater, in the dark. In Urruña, the Zinegin festival took place, and in Zumarraga also, with the help of the Kalegorri association.

Would you like to repeat this kind of action?

Yes, but I'd like it to be on the internet. The Internet is the best way to spread music. And it's also the best way not to sell records. Listening in film has been an intermediate thing, but knowing that it's not the best way to sell records. But there's a new way to listen to music. Today we hear almost everything on the phone and on the street, with traffic by our side and people screaming…

In the film not, but in the gaztetxe, you've given the music you've put to Segment sorlekuaren bila, recently recovered by Josu Martínez. That was offered to me.

In October last year, I was asked to have music. I musicated a shorter version of the film, and I thought it would be good if I did it also live, along with the images and there…

On another occasion you completed the concert with your love song arrangements in a bar. Today they are not songs of love with good boga...

Well, more than love songs were versions of songs that excite us, but the truth is that a lot of them were love songs. There are songs that we all start singing aloud. That's where I wanted to focus. In those who sing in group, although they have not been created to be hit. And one way to confront is to give them in a bar or in an environment, to see what reactions ...

All of this is a sign of your broad view of music.

I try not to have stylistic limits, because we put everything in small squares. And a word can say so many things the same way. If you take rock, you all do it, you do it, you rock it. Today, I'm not clear about what rock means.

But you try to open yourself to different styles…

We tend to say that since we are young we don’t like one style or another, and we may not be able to enter that style, because we don’t know how to dance or touch it… I try to have the ears open, simply.

Would you like people to dance more at your concerts?

Yeah, in my music, I'd like to work that difference, no doubt, to bring people gradually there. I've been with a group of dancers for a dozen years and they dance a lot, alone, as a couple… as you want. It's the best way to make a party.

Do you play the same thing in the bar, in the gaztetxe, in the street, in the movies?

Not forcibly. The most important thing for me is to have a good time. And that goes beyond economic conditions, how they take care of you, respect what you do, technical conditions… Economic conditions are not always met, even if they are important. We're looking for something else. In some places they hear you silently, and that's beautiful, but sometimes the silence of the audience can be even excessive.

On the contrary, musicians today complain a lot about the lack of silence of the public.

Normally our projects have been fairly respected, being intimidating. On other occasions we have felt exaggerated silence without being so intimidating. But when we've looked for silence, we've gone to these kinds of spaces, and yet we've had some bad experience, but we've also learned to take things better and work them better.

Your first Kontsumo Produkto album echoed. Have we turned music, culture, into a simple consumer product?

If we've made it, we've made it a long time ago, but we were more talking about the influence that the internet has had on music. There are wonderful things that are done in music, and we get the news from the internet. This is the main counter-addition. If you walk through the portal every day, you find some amazing musical groups and sounds, and I don't think that's a consumer product.

Do you experience the Internet as a great contradiction?

Yes. It's an amazing tool, but you see things have changed and they're going to change -- and it's also a question of how we use technology. I often see people looking at their cell phone live, or taking out and taking pictures…

You don't like them making you images, don't you?

No, nothing. I've already said it from the microphone, but I don't know if it's the way. Sometimes he did a little performance before the function, and tried to pass the message in another way. Some have treated me badly. “Who are you to say it? You take us a liberty...”, such. I say this from time to time and from time to time.

You already mention it many times. Do you think it's an important tool?

Yes, such an instrument was necessary. In Badok, there was an article that said a little more or less the same thing. “It was Ez Dok Amairu, it was RRV… When will the next revolution be?” For me it's been Badok, like that. As the Internet has entered, it has been the largest revolution in the world in the last fifteen years; it has revolutionized society as a whole. And the best thing about Basque music has been Badok. Otherwise, Basque music had been lost on the Internet.

Do you hear mostly Basque music?

Yeah, lately. If you hear a foreign music, most of the time it's because a great driver has prepared the way for you to hear it. And often, what's behind this machine is not as nice as it sounds like force. There's a lot of good music in the world, there's no question, but if it gets to our ears, it's because it's had the way to do it, like the images of politicians who get to eye level. However, I always hear things that I once heard, such as Björk.

What would you like after travelling around Europe?

I'd like to overcome the new confrontations with the place and the new people. Overcome some musical and stage confrontations. Shame is something that takes the cloak out. I still feel a lot of embarrassment about the stage. In addition, I have been twisted over time.