BASQUE ROCK GUIDE

Iñigo Muguruza, in memoriam

                                  "I would like to visit Euskal Herria,
                                 but no one has taken me up there.
                                  I have a disc of songs in Basque
                                  that awakens in me that fantasy"
 
                                                            Julio Bustamante

                                                     "Sur del corazón" (1999)  

CHAPTERS
            
01.  MY FIRST TIME
02.  BIDASOA, MON AMOUR
03.  ANDOAIN, A PUNK MIKROKLIMATE
04.  WHERE IS LAUDIO, BILLIE JOE?
05.  ON THE BASQUE COAST ROAD
06.  IRUÑA FOR KATAKRAK
07.  IN VITORIA/GASTEIZ, WHERE THEY DO THE LAW
08.  LA RIBERA ON FIRE!
09.  IPARRALDE, NORTH EUSKADI
10.  GERNIKA WILL BURN AGAIN
11.  IN THE SLAUGHTERHOUSE
12.  FROM SANTURTZI TO BILBAO
13.  PEARLS & DIAMONDS
14.  SEE YOU LATER, ALLIGATOR!!

 

In the wake of the Spanish Civil War (1936/1939), headway made in the Basque culture in the pre-war period ground to a halt. Fear grew amidst harsh repression, famine became an overriding concern, and former cultural figures died or ran for their lives to exile. As an individual singing figure of the 1940s, 1950s and 1960s, Luis Mariano and his powerful tenor voice should be highlighted. Luis Mariano born in Irun and moving in his 20s to Bordeaux, he jumped onto the Spanish and international scene with light-hearted songs in Spanish and French (and, occasionally, in Basque lenguage). After the hardest postwar years, the younger generation set about putting together duos and small musical groups in Gipuzkoa and Biscay (Basque Contry, Europe), who gradually began singing original tunes in Basque. Notable bands from the 1960s include Urretxindorrak, Enarak, Soroak and Estitxu, female singer born to fleeing parents near Bayonne (Lapurdi). These new bands sought to take advantage of the regime's increasing liberalization, despite the fact that major obstacles that still hindered cultural activity associated with anything Basque. Cultural and political awareness, social rebelliousness and an urge for action emerged in the following generations, resulting in a new left-leaning Basque nationalist movement.

Some people from the southern Basque Country fled the territory to the French Northern Basque Country and seeking shelter. They left their imprint in the traditional Basque society of the Northern Basque Country, contributing to the rise of cultural and political awareness. In this category falls Mixel Labeguerie, who worked and lived in Kanbo (Lapurdi), its mayor for more than a decade (1965–1980), councillor general of the department and a founder of Basque nationalist movement ENBATA (he walked out later). He had a musical education, soaked up the new European musical trends, as Georges Brassens, folk music from England and France, and released an album in 1961 with songs that struck a chord, such as "Gu gira Euskadiko" or "Primaderako liliak".  He was to have influence on the new artistic Basque artist collective "Ez dok amairu" put together in 1965, largely made up of folk singer-songwriters concerned with Basque culture, Benito Lertxundi, Mikel Laboa (popular song "Txoriak txori"), Xabier Lete or Lourdes Iriondo.

Lourdes Iriondo took up singing accompanied on a guitar for the first time in Basque music, a fact that came in for much criticism on the grounds that the instrument was alien to the native culture. "Ez dok amairu" broke up in 1972 and its members took up separate paths that eventually confirmed some of them as acclaimed and key folk Basque singers up to the 2000s. Along the lines of singer-songwriter style, Guk, Larralde eta Etxamendi or the beloved duo Pantxoa eta Peio provide the musical background for the 1970s period of struggle, repression and turmoil across the Northern Basque Country. Especially in the provinces of Álava and Navarre, Enrike Zelaia (Altsasu) and Gorka Knörr struck a chord with a more folkloric and nuanced approach.

Meanwhile, new and more urban style musical ensembles and bands sprang up in the 1970s, performing first to other's songs of the time at summer local festivals. They gradually developed their own repertoire fashioned in line with the Basque revival and activism (special focus on the lyrics) and ongoing Western musical trends, as folk (Gwendal), progressive rock (Pink Floyd). As regards choral bands, Mocedades from Bilbao should be highlighted, founded in 1967 initially by Amaya Uranga and two sisters of her. They soon gained public notability by ranking second at the 1973 Eurovision Song Contest. In the same city, the prolific band Oskorri got together featuring folk music, launching first album in 1976, where they paid homage to poet Gabriel Aresti, while in the Northern Basque Country Michel Ducau and Anje Duhalde teamed up and put together the first Basque rock band, the celebrated and politically committed Errobi, releasing album "Errobi" (1975) to critic and public acclaim, "Bizi bizian" ensued, probably its best, with the record company CBS considering signing up a contract with them. The group disbanded (not definitely) at the top of their popularity (1979); the split came to be regarded as a "suicide".

 

In the 1960s, the Basque people were more interested in protest songs folk than in rock and created the "new Basque song", influenced by artists like Violeta Parra ("Gracias a la vida") and Víctor Jara (who inspired the nueva Trova in Cuba). Beginning in the mid-60s, Imanol Larzabal led a solo career as a singer/songwriter, featuring a deep voice as well as a socially committed and poetic subjects, with the collaboration of domestic and foreign poets and singers. He went through a short period in prison and came back from exile in 1977. Friend of his and son of emigrant Souletin parents, Niko Etxart came back to the Basque Country from Paris with brand-new ideas about music in 1972, so turning into a forerunner of Basque rock music, alongside Errobi, while especially in the traditional Northern Basque Country some lashed out at his looks, manners and music. After "Euskal Rock&Roll" (1979) album, Niko alternately performed onstage in verbenas (dancing music in local festivals) with the band Minxoriak up to 1994.

Basque rock appeared in the 1970s under the impetus of Niko Etxart (with the group Minxoriak) and Errobi band (Anje Duhalde and Mixel Ducau). Anje Duhalde is a drummer in the Fuego dance group when he discovers a Basque version of Donovan performed by Benito Lertxundi. It is for him an awareness of the musical possibilities offered by Euskara. In 1973 he met Mixel Ducau with whom he was to found the Errobi group. In the early 1980s, the South Basque Country experienced an unprecedented economic crisis. As for the regime of autonomy established at the death of Franco, it does not respond to the hopes of the independentist circles that dispute it. In disadvantaged neighborhoods, some dive into drugs, especially heroin. This double malaise will lead groups of the main industrial cities of the Basque Country to express their anger through a rock inspired by the British punk movement of the late 1970s, and in particular the anarcho-punk, RRB (Rock Radical Basque). 

Rock Radical Basque is a musical movement that appeared in the Spanish Basque country in the mid-1980s and ends at the beginning of the following decade. It was composed mainly of bands of different musical styles such as punk, urban rock, ska or reggae, but with a very special influence of punk in its beginnings which reminded groups such as Sex Pistols, Ramones or The Clash. The label of "Rock radical Basque" appears in 1983 from the hand of José Mari Blanco (manager of La Polla Records) and Marino Goñi, founder of the Basque disco companies Soñua and Oihuka, after a festival against the accession of Spain to NATO. Some groups rejected the designation, some for commercial considerations, and others on the contrary because of the word "Basque" while claiming to be stateless. Soñua was an independent record label founded in the Basque Country by Marino Goñi in the early 1980s. The appearance of Soñua coincided with the rise of Basque rock, contributing to the release of the discs of the most representative artists of this movement Musical, like Kortatu, Cicatriz (punk group Vitoria-Gasteiz) or Hertzainak. Oihuka is an independent label founded in the Basque Country in the mid-1980s. It was founded by Marino Goñi. In 1987, it absorbed all the catalog of the disappeared Soñua (also founded by Goñi).

Basque rock groups were hosted by small local record labels and had their own concert circuit in the area, although they also performed concerts outside their original setting. This music could be listened to throughout Spain. The forms of dissemination were not classical and the groups were usually known in the alternative media, gaztetxes (youth centers), radios, fanzines and in the cultural section of the daily Egin, close to Basque independence , Now banned. The texts express a rejection of the state, the police, the monarchy, the Church, the power .... Among the groups associated with this movement are BAP!!, Hertzainak or Kortatu founded by Fermin Muguruza and his brother Iñigo. Their first album appeared in 1985 with only two titles in Euskara. With their personal convictions, the following albums will give an increasingly important place to the Basque language, and "Kolpez Kolpe" (1988) will be totally in basque. This movement will have an impact on the other Spanish regions.

In a different music style, Itoiz will be very successful. In the area of Mutriku (Gipuzkoa, Europe), Itoiz was a milestone in Basque folk-pop music. It was formed in 1978, with Juan Carlos Perez as its lead vocalist and front-man, releasing that very year the critically acclaimed album "Itoiz" (1978), which contained such poignant tracks as "Hilzori", "Lau teilatu". Emsemble Haizea delivered a couple of good albums during this period. Up to that point, Basque music bands from the Southern Basque Country resorted to labels from Spain to record and release their works. Yet at the end of the 1970s and notably in the early 1980s, new regional publishers arose (Xoxoa, Soñua...), providing a springboard for small bands that previously found it difficult to see their works come to light.

The situation in the Basque Country during the 80s provoked a culture of the protest song that folk singers such as Benito Lertxundi, Urko and Pantxo eta Peio had previously interpreted. Benito Lertxundi is a Basque singer born in Orio (Guipuzkoa, Europa) on 6 January 1942. He is considered by some to be one of the most important singers of Basque popular music today. The economic crisis disrupted Basque society, especially the popular classes linked to industry and port activities, with high levels of unemployment and a loss of purchasing power of the population aggravated by the increase in the birthrate. Marginality has increased particularly in the suburbs of industrial areas and, along with it, the consumption of hard drugs such as heroin. Spanish political transition, due in part to the separatism of the Basque nationalist left, has slowed down compared to other areas. The campaigns of greater virulence of ETA. Were suppressed by the creation of a plan known as the Northern Special Zone (Z.E.N.) and by means of activities of "governmental terrorism", increased with the appearance of GAL or BVE. When the PSOE came to power in 1982. Special Area North (ZEN) was a plan devised by the Spanish Ministry of the Interior, headed by José Barrionuevo of the PSOE, who made himself known in February 1983 in the ETA's response to the violence And to curb the insurrectionary and social conflict situation experienced in the Basque Country and Navarre in the early 1980s.

Faced with this situation, the groups of the left abertzale, grouped since 1978 around the political coalition Herri Batasuna (HB) and the daily Egin, have refined their positions to approach the disenchanted Basque youth. Although not all musical groups accepted this "tutoring", some of them openly rebelled, like Eskorbuto with their "anti-system" ideology, and inviting to reject the Basque nationalistic political conception. Some commentators tend to minimize the influence of the Basque National Liberation Movement on Basque radical rock, suggesting that these groups were much more "hedonistic" than political, which can not concern groups like Kortatu, spearheads Of assertive rock and Basque identity assumed. The Basque National Liberation Movement is a political and social movement formed by organizations of common Basque nationalist inspiration whose claim is the constitution of a Basque State (Euskal Herria) on the basis of the ideology of the Left Abertzale (patriot). Some of the MLNV organizations do not exclude the practice of violent and revolutionary means.

However, some of these groups do not recognize themselves in Basque nationalism or the notion of country, more influenced by various anarchist doctrines and the ideals of the punk movement. Among them, a number of protagonists of the movement will remain on the "tile", victims of drugs and AIDS, the heroine having introduced itself with force into the Basque towns and villages with the active complicity of some authorities to " Which led, for example, to the legal drama between the group Negu Gorriak, who denounced this complicity in the censored rap song "Ustelkeria". The majority of the songs were composed in Spanish lenguage but others in Basque (euskera). Some groups like Kortatu began their production in Castilian and then "basquised", introducing more and more the Basque in their texts. Basque radical rock proved to be a very broad label and, in some view, has become a commercial name because each band expresses its own musical style and philosophy. The majority of the texts are characterized by an ideology "anti-official system", with a permanent criticism of the state, the police, the monarchy, the church and the french and spanish army.

Most of the musicians came from families suffering from the economic crisis, lived in the working-class districts of the large Basque cities immersed in industrial reconversion, favoring the close relationship between the abertzale left and Basque rock. The recent period, since the early 1990s, reflects an openness to new and more diverse genres (ska, funk, electro ...), or even a crossbreeding of styles and sources of inspiration, where the experience of tradition crosses Contemporary creation. Among the new groups are Negu Gorriak, who succeeds Kortatu. The most important Basque rock festival is Euskal Herria Zuzenean (Saint-Martin-d'Arrossa).

At the same time, a whole network of youth squats, the gaztetxes, sprang up all over the Basque Country, so furnishing small bands with premises to rehearse and a venue to stage concerts. For the first time, a younger disaffected and unruly generation stemming from urban sprawls and towns could find an outlet to voice its protest along the lines of a punk outlook ("do it yourself"), but could not avoid being badly shaken by drugs. 1984 saw the surge of Basque punk rock, or Basque Radical Rock. Some popular bands jumping onto the rock scene were Zarama and Eskorbuto from Santurtzi, hard rock band Barricada and whimsical Tijuana in Blue from Pamplona, La Polla Records from Agurain, Kortatu and Baldin Bada from Irun, Hertzainak, Cicatriz and Potato from Vitoria-Gasteiz city, Jotakie, RIP, Naste Borraste, MCD, BAP, Zer Bizio, Delirium Tremens.... Most of the times Spanish language was used, sometimes Basque, while other times bands were bilingual.

The flagship Basque rock band Kortatu broke up in 1988 (live album "Azken guda dantza"), and soon after brothers Muguruza put together project Negu Gorriak. They showed a different outlook compared to previous band Kortatu: The new band sang entirely in Basque, their approach showed an open mind, while sticking to the Muguruzas' signature protest song, as showed in their acclaimed video clip Radio Rahim, that conjures up American hip-hop manners Punk fell much in decay, while reggae as well as hardcore took over, as Anestesia, Etsaiak, Sociedad Alkoholika or Su Ta Gar (heavy metal). M-ak band launched its best album "Barkatu ama" (1989) to critical acclaim, featuring styles ranging from hardcore to gentle tracks.

This new musical trend clashed with the previous singer-songwriter tradition (generation gap), with both linking to different degrees to the leftist and Basque nationalist movement. Meanwhile, Itoiz band kept its low-profile musical path switching to pop in the accomplished album "Musikaz blai" (three more LP albums followed), featuring internationally acclaimed songs like "To Alice", "As Noites da Radio Lisboa" or the catchy "Marea gora". Other bands of the late 1980s stack to a different path, gentle and even naïve, using Spanish-language lyrics and combining Spanish and international pop trends, take for instance, Duncan Dhu (with leading figure Mikel Erentxun), 21 Japonesas or Sanchis y Jocano, bands from the area of Donostia. Duncan Dhu especially attained big levels of popularity on the Spanish and international pop scene, giving rise to a tradition in ensuing years that was to be called "Donosti Sound" (Le Mans, El Joven Brian, La Buena Vida).

 
In 1990, Basque-language public radio station Euskadi Gaztea was born, intending to target the youth in a young, dynamic and informal manner, besides adding information, dealing with subjects Basque young people may be interested in and encouraging Basque groups. Basque music definitely opened its mind to trends all over the world. Early in the 1990s, younger generations took up folk again, finding a public that was eager to listen to milder tunes in Basque, as Sorotan Bele band or Mikel Markez. Trikiti schools finally bore fruit in the 1990s. The novelties brought about by the duo Tapia eta Leturia and Kepa Junkera confirmed them as compelling folk references in the Basque Country and even abroad. Novel trikiti duos tried new ways that caught on, sometimes setting up bands including bass guitar and drums besides the set pair of diatonic button accordion and tambourine (trikipop), as Maixa eta Ixiar, Alaitz eta Maider or Gozategi. They usually offered a cheerful repertoire, with Gozategi band's song "Nirekin" hitting the summer charts in 2000 beyond language boundaries.

Hertzainak band disbanded in 1993, while its members followed their own projects. Hertzainak frontman and controversial singer Gari started up a solo and very personal career with some accomplished songs that has established him as a compelling reference in Basque music, while Josu Zabala collaborated with other singers and a bertsolari group project, 7  eskale. Power pop band Urtz, formed in 1988, dealt with personal stories that slightly differed from the still prevailing protest topics and harsh language of the late 1980s, besides featuring an unprecedented chorus line that delivered some charming, upbeat and catchy songs. The band broke up in the early 2000s, but staged a comeback in 2013.

In step with the hardcore punk tradition, the band Berri Txarrak from Lekunberri got together in 1994, releasing various albums and touring on Europe, where they come in for good reviews and gradually get a reputation that earned them performances and collaborations with important figures of indie rock all over the world. The rock band PiLT (Mungia), who showed a taste for metal and hard sounds (Clawfinger, Soundgarden), jumped into spotlight in 1995 after winning the bootleg contest Gaztea Sariak granted by radio station Euskadi Gaztea. Likewise heavy metal band Latzen came to public prominence after winning with the popular metal ballad "Laztana" the 1997 edition of the Gaztea Sariak.

The bands Skalariak (1994) and Betagarri (1992) took over the ska tradition, offering boogie inciting and swinging live concerts. In step with other multicultural experiences, such as Fermin Muguruza from Negu Gorriak or festive Joxe Ripiau to highlight but a few, in 2003 members of Etsaiak put together Pin pan pun band, a band with good connections in Latin America, releasing in 2005 the DVD "Kuba-Mexiko Rock Tour 04", which bore witness to their experience and live powerful concerts. Etsaiak got together again in 2008 (launched album "Apurtu arte"). In the French Basque Country, the festive band Sustraia attained great popularity after 15 years on the road, while the sudden death of charismatic frontman Patrick Mixelena "Mixu" in January 2009, made the group's future uncertain. A consistent career and musical know-how have confirmed several bands as compelling references as of 2014/15, Gatibu (Gernika), Ken 7 (Gernika) or Berri Txarrak (Lekunberri) to mention but a few.

The singer-songwriter approach that waned in the late 1980s shows presently a sound condition in the Basque scene, with some very outstanding figures, like poignant Anari Alberdi, renowned for her intense, heartbreaking voice and songs, who is now taking off (live recording "Anari Kafe Antzokian Zuzenean" released in 2008). Other singer-songwriters include Petti, from Bera (Navarre), with four albums published up to 2008, or the bertsolari Mikel Urdangarin, featuring somewhat melancholic songs often accompanied on string and brass instruments. The celebrated singer-songwriter Mikel Laboa, considered a father figure of modern Basque music, died in December 2008.

Following the folk and singer-songwriter tradition, Jabier Muguruza (born 1960) took up a solo career in 1994 after quitting other pop projects (Les Mecaniciens). This veteran musician composes and performs personal, mild songs with strong broody and literary lyrics. Meanwhile, some renowned figures of Basque folk music have kept on performing and creating, as Benito Lertxundi, or Oskorri (fresh album "Banda band" in 2007, about to celebrate the ensemble's 35 anniversary). Amaia Zubiria born 1947 in Zubieta (Gipuzkoa), who has occasionally collaborated with him, holds a long and prolific career in the Basque song panorama: She came to the spotlight with progressive-folk group Haizea, having published some solo albums since and featuring a very pure mezzo-soprano voice. Her latest work is the album "Nabil" (2008)... Biba zuek!

+INFO. http://www.etxepare.eus/media/uploads/publicaciones/euskal_kantagintza_pop_rock_folk.pdf

BIDASOA, MON AMOUR

"Aurreritzien sustraiak 
hain dira sakonak,
arrazoiaren bidea
 luzea bezain zaila dela...
Bidasoa fundamentalista? Inoiz ez!"

On both banks of the Bidasoa river have been brewing some of the best moments of Basque rock in these last decades. After the punk hangover of the 80´s, well represented by local groups such as Kortatu, Auskalo, Vómito, Anti-Regimen, Oztopoka or Baldin Bada, new groups began a search for new sonorities. One of the most noteworthy cases was in area of Hondarribia (Gipuzkoa), where a group of local artists created the Psilocybe Elkartea association in the early 90´s. After squatting and fighting for several years for having decent rehearsal rooms, Psilocybe cultural association. The cession of one of the wings of the old schools of the district of Amute. There, "Psilocybenea" alternative space was born, one of the most active and unique venues in the entire Basque music scene. After finishing the renovation of the building, the intrepid members of Psilocybe association would assume the management of the whole site, expanding the first rehearsal rooms with a new concert hall and a local radio station.

Thanks to Psilocybenea space, the musical level of Hondarribia has grown and has been strikingly high in recent years. In the footsteps of pioneering bands such as Beti Mugan, DUT, LIF, The Illusions, Sorotan Bele, Orgasmic Toothpicks, a huge quarry came out that included such varied ensembles as Marginalia, 6 Erru, BloodSeekers, Pinbol, Citizen, Maumousse, Inoiz Ez, Sfintters, Montanas, Gudak, Guilty Parrots, Los Stupefactos, DeadBody & the Faboulous Bonus Man, Luz de Putas, & the Fans, Imago 4, DJ Edu o The Glandes. Recently, Marmoka, one of those new local bands has presented his first album, "Bidaide" (2017), recorded, of course, within the Psilocybenea space. After several changes, the formation of Marmoka is formed by Mufloi (bass), Hendhrix (guitar), Katxarros (drums) and Mkarel (guitar and voice), guys who put on the stage what they call "rockmarpop" (a potent mix of glam rock music and psychedelic pop). Apart from their own songs, in live shows, Marmoka band plays covers of Neil Young or the mythical Basque rock bands like Itoiz, Deabruak Teilatuetan or Beti Mugan.

The emergence of Beti Mugan (in english, "Always on the Edge") brought new sounds to the Basque rock music in 90´s. In their own way, Beti Mugan band opted to practice a lively alternative rock pop with fascinating lyrics in Basque and also in English lenguage ("Jane says"). Thanks to the small label Basati Records, members of Beti Mugan would leave for posterity three unparalleled albums, "Hamlet" (1992), "Mugan" (1993) and "Oreka desorekan" (1994). When the people understood Beti Mugan´s style, this basque band was already saying goodbye. Years later, much of his legacy would be compiled in "Bazen" (1998), a fine album edited by Esan Ozenki Records. Beti Mugan also participated in "Underribi" (1994), a collective album that would turn out to be the letter of presentation of another music band from Hondarribia band, DUT, with a fundamental role in the development of the Basque rock scene.

In their first album, "DUT" (1995), the members of DUT dared to version to the same Mikel Laboa with a very long and exciting version of "Urtsua da uda". Thanks to his boldness and his powerful direct, DUT would support in ten occasions to the mythical Negu Gorriak band. DUT was completely reinvented to record their colossal second album, "At" (1996). They going from quintet to trio, Joseba (bass), Galder (drums) and Xabi (guitar). Mixing an infinity of styles and musical influences, these three member of DUT band would reach levels hardly imaginable, profiling a powerful sound that would reactivate to an important part of basque rock scene. This amazing second album encouraged basque veteran musicians, like Fermin Muguruza, to start collaborating with DUT. "Fermín received an invitation from Chile to do a version of Victor Jara, the inmortal chilean songwriter. Fermin wanted to do something with us and, quickly, we start to play together".

After recording that great version, "El derecho de vivir en paz" ("The right to live in peace"), for the albums of homage Víctor Jara chilean songwriter, Fermin Muguruza and the members of DUT presented the captivating "Fermin Muguruza eta DUT" (1998) album. The whole of the texts were from Fermin, with the exception of the theme "Aizkorak zorroztu". The music of this album, basically, was a contribution of the band DUT, except "Nik baditut sei" and "Lucrecia", dedicated to Lucrecia Pérez, a black woman killed by racists cop in Madrid in 1992. Drinking from jungle music and drum & bass sounds, this album would be a rather novel work in the troubled Basque Country of later 90´s and gave way to an extensive tour of presentation for Europe and America. During that tour, Fermin Muguruza and DUT band would accompany Gaitzerdi, a Basque theater company that was in charge of designing the striking metal and fire scenography to the shows.

Without officially announcing its dissolution, Galder, Joseba and Xabi, the three young members of DUT, would promote different rock projects after "Askatu korapiloa" (2000). This powerful and crude third album was the last work of this band from Hondarribia. Xabi Strubell would launch Zura, an eclectic rock band where the beginner will discover new music universes. Zura band's fruitful career includes music homages to the murdered poets like Lauaxeta and Federico García-Lorca in the album "Ilargi handi, zauri zarae" (2005), some warm bossanovas into "Kiribil" (2008) album and sharp rock songs into "Egunkari ezkutua" (2015), a third album inspired by "Leturiaren egunkari ezkutua" (1957), a novel written by Txillardegi, a popular Basque activist and writer. 

Joseba Ponce and Galder Izagirre, the other two members of DUT band, give life to a new Basque rock band, Kuraia (in english, Courage) with friends and musicians like Fernando Sapo (now Estricalla band´s vocalist) and Mikel Kazalis (guitarist of Anestesia). Kuraia band's three studio albums, "Kuraia" (2003), "Iluntasunari barre" (2004) and "Piztu da piztia" (2005), would fit deeply into hard rock fans, especially those who were lucky enough to see them live sometime. Fernando, the vocalist of Kuraia band, was able to surf on the audience mounted on a guitar case in every shows. 

"Kuraia has had many offers to play outside of Euskal Herria (Basque Country) despite singing in euskera (Basque lenguage). We could have touched a lot shows more, but anyway, I think we have overcome barriers like censorship or prejudice, which is great thing. They are people who truly admire our music. They written us from Brazil, USA, England, France, Germany, Japan, Chile, Argentina, Mexico ....We have the greatest barriers within ourselves, because we have not been ambitious. While Kuraia band is an basque rock band, we are always open to say what we feel in any other language.Nowadays, given the process of wild globalization that we suffer, keeping our language alive is a vital issue, especially if it is minorized and suffers constant legal assaults".

After the dissolution of Kuraia band, Galder would play drums in the ranks of the celebrated Berri Txarrak band. While Joseba would surprise everyone with "JP Lohian & Klonen Klana" (2015), a tasty and very personal rock album. "Recording solo is something I've always had in my head, but it's been relatively recently when I decided to do it. I do not know if it will be for the age, but I feel like singing more than bawling. The aesthetically dark in the music. I tried the keyboards, little by little the songs acquired another dimension and, at the same time, unified the musical concept that I wanted to convey.This has been fundamental in the final result. I tried to make a conceptual disc full of details that you are discovering step by step".

From a music spectrum quite distant to DUT band, another great band from the area of Hondarribia would triumph in Basque Country thanks to a successful combination of celtic folk and pop sounds. The three discs of Sorotan Bele band, "Sorotan Bele" (1993), "Mundu hegian" (1994) and "Jone-n kezkak" (1996), provide the beginners with some reasons to follow with interest the later works of the singer, Gorka Sarriegi, or those of the sadly disappeared flutist and composer, Mikel Errazkin. Another member of Sorotan Bele band, Urbil Artola, formed a duet with his famous progenitor, Txomin Artola, on one highly recommended album, "Hondarribian" (1997).

Txomin Artola was born in 1948. He would help to freshen up basque folk in the 70´s and 80´s. Recognizing the influences of british folk, Bob Dylan or Simon & Garfunkel, Txomin Artola would start his career with "Olaxta" (1975), an music album where he composed several poems of marine environment written by his father, Fernando Artola. With his subsequent works, Txomin Artola would manage to make its own hollow within the Basque music scene. The list of great albums is abundant and greedy, "Belar hostoak" (1978), "Ttakun ttakun" (1980), "Orbela" (1985), "Txuriko" (1986), "Berriz arte" Artola "(1990)," Alboka "(1994)," Banako "(1994) or" Zurartean "(1995).

Txomin Artola would make good friends with a young and formidable Basque singer lady, Amaia Zubiria, during his participation into the basque folk group Haizea (in english, "Wind"). Both musicians would often collaborate, achieving great successes, such as the essential trilogy "Folk lore sorta", published under Elkar label in the early 90's. Amaia Zubiria would cultivate different music genres, recording from soundtracks of films to discs as diverse as "Ho, pitxu, ho!" (1998), "Mami xuri" (1998), "Haatik" (2002), "Nabil" (2008) and "Amona Mantangorri" (2011). As a curiosity, another music album by Amaia Zubiria, "Amonaren mengantza" (1995), would inspire the name of La Venganza de la Abuela (in englih, The Revenge of the Granny), a powerful rock band led by the grea Enrique Villarreal "El Drogas", aldo Barricada rock band bass player.

Along with DUT, another intense bands would be the spearhead of Bidasoa basque post-rock, Lisabö or Izaera. Arising in the town of Irun in 1998, a few months after, the members of Lisabö were already supporting a very celebrated american band, Fugazi, in Jam concert hall of Bergara (Gipuzkoa). "The show with Fugazi was something great, what I was most impressed with was seeing them load and unload their material as if they were a group that just started. Since that day, I value that kind of thing a lot, it's something that puts you back on earth, but because of Fugazi, we have also learned many more things, the way they wear their label, their coherence when it comes to playing or their line of production albums".

Thanks to the support of Esan Ozenki label, Lisabö's first album, "Ezarian" (2000), would cause a huge commotion inside and outside Basque Country. Due to the strength of his poetic lyrics, to his melodies so torn and to these voices almost to the limit, that memorable debut would become, in a short time, a clear referent for multitude of bands of post-rock of the zone. "Our lyrics are personal, intimate, but it is an intimacy that is contextualized in the reality that we live here in Basque country. They are letters open to many interpretations, which do not suffocate in the very privacy of the writer."

Despite major changes in training, Lisabö band continued to record new albums at their own pace, remaining faithful to their particular sonority. One of the assets of Lisabö are live shows. They play with the silences and parts of great intensity, it goes more and more. It's nice to see in action his two drums set. In the records this is lost a bit, since you do not know who plays what, but on the stage is shocking. They say that the compositions made by Lisabö do not involve too many technical difficulties, since they want that who is there is someone close. Everything is designed so that, when it comes to transmitting emotions and living the song, the thing counts. After editing "Egun bat nonahi" (2002), a EP containing three superb songs written by Martxel Mariskal, ex-member of Beti Mugan band, Lisabö band would present "Izkiriaturik aurkitu ditudan gurak" (2004) album. During the recording, this basque band counted on the help of important groups like Manta Ray or Experience.

Although somewhat spaced out, the beginner can´t miss three such striking Lisabö´s albums such as "Ezlekuak" (2007), "Animalia lotsatuen putzua" (2011) or "Eta edertasunaren lorratzetan biluztu ginen" (2008). "It is clear that the fact of singing in Basque lenguage is a brake for many people when buying a rock music album, but we do not care. We will continue to make our albums in basque lenguage proving that it is a beautiful language, that holds beauty in any of It is our language. And it is the best of all to say "I love you." Those language barriers will fall, because people is intelligent. Those who truly love culture, are above all else. Culture will not change the world, but it can create a place in you so that you can rebel against the things that surround you, and against yourself too".

One of the members of Lisabö, Ivan Zabalegi, would go from playing the drums to picking up the guitar. Ivan set in motion a new musical project, Nire. With his first two albums, "Hamabost" (2015) and "Hemeretzi" (2019), Nire band makes his way through the paths of alternative country singing in basque lenguage. Another member of Lisabö, Aida Torres, would leave the band and be part of Jupiter Jon, one proud and unclassifiable basque rock band. Aida has released two flip-flops with Jupiter Jon band, "Pleistozenoko astelehenak" (2011) and "Eta metaforak greba egin eben ..." (2015). There are no words that can explain all the sensations that transmit these works, the beginner must be carried away by the sonic whirlwind.

Arising between Irun and Hondarribia, the powerful Basque rock trio Izaera appeared to the world with a sweet model in 2001. Three years later, after offering more 70 concerts and changing guitarists, Izaera band returned with the album "10 Programa Gaiztokian" (2004) ). The members of Izaera, Mikel (guitar), Aritz (bass) and Sergio (drums), did not hesitate to leave in the hands of the expert Karlos Osinaga the production process of the same. That great debut was recorded in the premises of the gaztetxe of Bonberenea (Tolosa), which has been dedicated for years to put into the hands of new groups a minimal infrastructure to make possible the edition and expansion of their art. It is not easy to describe Izaera or label them, but they are often said to keep ripped and distorted bass voices that mark the base, unlike the drumbeats that tend to increase in dynamism and speed. The guitars of Izaera endowing the subjects with great lyric aggressiveness.

Inside the formidable stamp catalog of Esan Ozenki Records, there were two other bands from the Bidasoa river area that deserve to be vindicated, Debekatua and LIF. Being witty, Debekatua band group were somewhat like a Basque version of Rage Against The Machine american band.They practiced a kind of rough metal rock but very catchy rap. Debekatua only recorded a demo and an album, "Debekatua" (1999). Although they didn´t have overwhelming success, to listen to them is a great pleasure. Really, songs such as "Litio", "Zonbien gaua" (in english, The Night of the Zombies) or "Turkiar demokrazia" (Turkish Democracy) will make any beginner bounce, are full of cuttings in basque, scratches and voices sampled. In "Gurutzea sutan" sounds the voice of Iggy Pop. The theme that closes the album, "Honek ez du zerikusirik, merezi du", is a hypnotic poem of a Basque young writer, Harkaitz Cano. The new generations will put in place the sonorous legacy of this amazing band from Irun (Gipuzkoa).

For its part, LIF was a powerful rock band with touches of hardcore and punk music. They formed in Hondarribia (Gipuzkoa) around 1993 and they recorded two albums, "LIF" (1998) and "*" (2001). The vocalist of band, Danel "Pantera", and the rest of the beasts of LIF band would accompany their good friends DUT on numerous shows, achieving unforgettable performances by the many gaztetxes (squats) of Basque Country. LIF band live shows were blunt and frenetic. This group always proved that the stage was their natural environment. The first album was very well received by the basque young people, but it was a little notice the inexperience of the group in the studio. The sound of LIF band was quite forceful, brushing thrash metal several times, and its lyrics were very demanding (without falling into the easy pamphlet). In April 2001, LIF members were isolated in a cottage in the area of ​​Maldaerreka (Navarre) with Karlos Lisabö. This excercise of sound technician and producer of the eleven songs that recorded to give form to next work, "*" (in english, Asterisk). At the end of the presentation tour, LIF band would stop playing. Later, one of the members of LIF played in Kalite, another sonic steamroller and from which an album came out, "Buia" (2005).

Away from the intensities of post-rock sounds, another band from Irun (Gipuzkoa) was a pioneer within the Basque music scene. Bad Sound System band approached hip-hop from Jamaican reggae music. They have garnered a good reputation for their direct animations, coming out to play, repeatedly, outside the boundaries of the Basque Country, even for Mexico and Japan. As a result of this talent, albums such as "Buiaka" (2004), "Kalean" (2008) or "Aldaketa" (2012) are a tasty reality. Also in area of Irun, around the veteran punk band Apurtu and the small label Petruska Records, born a whole scene inside the underground of Bidasoaldea. Casting such diverse bands as Kakazaharra Ta Bi Puzker, Big Brown Beavers, Armatiropunk, Ex-pañolak, Zanpatu, Nortasun Galduak, Dik, Lady Kotxinas, Endika Pullo, Lastojaleak, Los Piloros, Astindu Oi!, Kondenatuak, In Kasu!, Slevy, Kaos Kooperativ, Kail or Kasernarat, several music festivals and frantic compilations emerged with the title "Bidasoa Attak!".

Zanpatu was a punk band that emerged in 2004. In their short existence they didn´t leave any recordings, but, when they knew of their existence, Petruska Records label offered to publish all their unpublished but exciting repertoire. With some change of their formation, Zanpatu band (in english, Smash) would come back to life again to give form to that brand new first record, homónimamente titled "Zanpatu" (2011). This album was presented a few months ago a flirtatious local punk festival, "Bidasoa Attak". Petruska Records label would also release the album "Kail" (2012), the only work of Kail, a very young band from Irun keen to wake up staff with their lively metal rock storms. Curiously, from the ashes of the extinct Kail would arise one of the most fascinating bands of the basque folk scene, Kasernarat.

Kasernarat practiced a peculiar style that they called "kinki folk". Even listening to their two albums is difficult to get an idea of what they were able to achieve in their direct. After debuting with "Kasernarat" (2012), this music band from Gipuzkoa was growing, achieving several awards in rock music contests. In 2014, Kasernarat recorded one single, "Inoiz izan ginena", and a full session for "Elkar estudioa sesioak", a television show by Hamaika Telebista. After publishing their second album, "Okerreko bidetik" (2015), Kasernarat said farewells acting, for the last time, in the premises of Hazia Kultur Elkartea (Irun). It was January 29, 2016... Goodbye!

The exvocalist of Kasernarat band, Eneritz Dueso, is currently under the artistic name of Eneritz Furyak. Although she usually plays guitar and accordion, she usually likes to play with any instrument, from ukuleles to synthesizers. Eneritz's first solo album is titled "Eneritz Furyak" (2017) and has been mastered by veteran producer Jonan Ordorika. This young and restless Basque artist has also received several prizes in the literary field, even writing in Galician language ("O peixe conxelado"). In addition, Eneritz Furyak has been coparticipe of other projects rockers, as Nortasun Galduak or Astindu Oi! rock bands.

Crossing the border bridge over Bidasoa river, around the gaztetxe of Hendaia (Lapurdi), was born Skunk band, one of the most energetic and representative combos of the ska-punk of Basque Country. Skunk band's career is summed up in six mind-blowing albums, "Eh beh, ze pasatzen da?" (1996), "Lankktalo" (1997), "Enbata" (1999), "Skunk # 1" (2000), "Kinki" (2002) and "Giltzak" (2004). After, influenced by the powerful post-rock tsunami of Bidasoaldea and the alternative American rock scene, several members of Skunk band and Monarch band would join to form Willis Drummond, another popular basque rock band. The musical legacy of Willis Drummond includes a handful of more than interesting albums such as "Anthology" (2007), "Willis Drummond" (2009), "Istanteak" (2011) and "A ala B" (2012). Four years later, after offering almost 200 concerts, this Basque rock band reappears with "Tabula Rasa" (2016) album, it´s their fifth studio album and was recorded with producer Burke Reid (The Drones), and "Zugzwang" (2019). Under the stage name Ekiza, Willis Drummond's guitarist, Jurgi Ekiza, released a solo albums, "bH036-LP" (2016) or "Etxeko lanak" (2019, where he explores more leisurely rhythms.

Riding the Bidasoa river, in the village of Bera (Navarre) have enjoyed a striking musical quarry in recent years. The list of local bands comes from the most varied, Borrokan, Petti & Etxeko Uzta, Joseba Irazoki, Ameba, Gutariko Bat, Noise Hole, Estitxu Pinatxo, Onddo, Mikel Irazoki, Joseba B. Lenoir, Zup, Zakillers, Mutürbeltz, On Benito, SextySexers, Do, Mugaldekoak, Agara, Azken Trena... The reason for this musical splendor lies surely in the good performance of the local music school, in the undoubted impact of the ERTZ music festival, in the appreciable musical taste of certain pubs or, perhaps, in the facilities that gave the town hall to the bands to access worthy rehearsals. For example, the locals of the Old Customs, a space surrounded by forests, right on the old border between Navarre and Iparralde (North Euskadi). This is where Joseba Irazoki and many Bera musicians usually rehearse.

Also the presence in Bera of recording studios like Atala or MIK Studios has contributed to raise that striking creative music environment. Its existence made possible the arrival in this town of veteran basque artists, such as Xabier Montoia. After excerpting his first solo album, "Beti oporretan" (1995), the vocalist of the unrepeatable M-ak would be transferred to Bera to record at MIK his three following albums, "Hemen" (1997) "Lagunak, adiskideak... eta beste hainbat etsai" (1999) and the minimalist "Ni ez naiz Xabier Montoia" (2001). This long presence marked a whole generation of young musicians in the area, such as Iñigo Telletxea, Igor Telletxea or the restless Joseba Irazoki. After joining Xabier Montoia in several of his tours, all these young artists would later found their own music bands, like Onddo, a combo who would debut with an appreciable pop album, "Onddo" (2001).

J.L. Perez Mitxelena, better known as "Petti", is a solid strut of Bera's musical quarry. Petti has harvested some of the best moments of the recent rock scene of the Basque Country step by step. Petti has earned his own niche thanks to his talent, his deep voice and his sense of smell to go combining folk, rock and blues. Any of his works will be of interest to the beginner. Petti's career starts to be very extensive, "Amets bat" (1999), "Arrazoiak" (2001), "Anari ta Petti" (2003), "ON" ), "Awañak" (2008), "Barrence Whitfield eta Petti & The Bloody Hotsak" (2009), "Xabi ta Petti" (2012), "Astirtitan" (2014) or "Bonberenean zuzenean" (2018). Mister Petti has recorded two albums with Etxeko Uzta band, "Petti & Etxeko Uzta" (2002) and "Hotzikarak" (2016). In english lenguage, Etxeko Uzta means The Harvest of Our Home. This super band formed by related friends from Bera, such as Iñigo Telletxea (bass), Joseba Irazoki (guitar), Igor Telletxea (drums) or Fernan Irazoki (drums). Already in 2020, Petti would present a cuckoo cultural artifact made with the Basque writer Harkaitz Cano, "Manipulazio estrategiak" (2020), which starts from reflecting on a well-known study by Noam Chomsky, "10 strategies of manipulation". Published by the artistic group Zart, within the album Petti offers 11 songs where he remixes poetry with blues rock, folk and bossa.

Petti took his first steps into Noise Hole, a rock band led by Fermin Iraola. Noise Hole's career started up step by step, making versions of popular rock bands, like Ramones, Neil Young or Radio Birdman, until, finally, they managed to publish their first album, "Zuloaren itzala" (1994). It contained excellent own songs full of garage rock and audacious power pop in Basque lenguage. Fermin Iraola was one of the greatest agitators of the Bidasoa rock scene. He was guitar teacher and member of groups such as OK Korral or Labanak. On November 2011, one year after his death, a large festival was organized in his honor at Bera. Several former members of Noise Hole, such as Raul Garcia and Beñardo Goietxe, would then create another interesting band, Mugaldekoak (in english, The People of the Frontier). Combining music and poetry, Mugaldekoak band's first album, "Biziago sentitzeak dakarren muga inguruan" (2006), featured compositions close to folk, blues and country rock. 

The second album of Mugaldekoak band, "Begiak lekuko" (2012), resulted in an anthology in basque lenguage of some pieces of popular artists like Bob Dylan or Leonard Cohen. In 2017, this great group of Bera has presented "Galdemoduen trilogia" (2017), their third reference where they reunite 16 songs with diverse echoes, as english folk ("Bi kopa"), rockabilly ("Onddo bila"), tex mex ballads ("Orabideko errekako ballad"), Mississippi blues ("Emazteki langilea"), the great Tom Waits ("Hurrup!"), Pascal Comelade ("Nire balentriak ez bezala") or spoken word ("Astro-H"). All the lirycs of the third album have been written by the vocalist Edu Zelaieta, except "Map", that adapts a poem of the Polish writer Wislawa Szymborska.

Definitely, Joseba Irazoki is another formidable representative of the rock and folk scene of Bera (Navarre). As a restless multi-instrumentalist, Joseba Irazoki has collaborated with dozens of state artists in recent years, from Atom Rhumba, Duncan Dhu to Mikel Erentxun, Petti or the asturian genius Nacho Vegas. At the same time, Joseba has also developed a fruitful solo career. There is a whole universe collected and hidden within works so peculiar and as atrevidss such as "Irri eta solas" (2004), "Gizona zakur egin zen" (2005), "Olatuetan" (2006), "Poverty gara" (2007), "On Benito" (2009), "Euria ari du" (2010), "Oso banda" (2012), "Joseba Irazoki eta lagunak" (2014) and "Zu al zara?" (2018). There are none left, all are advisable for any beginner with cultivated music interest.

We can not leave Bera without mentioning two local rock bands as powerful as Borrokan or SextySexers. Borrokan (in english, Figthing) have broadened the post-rock euskaldun path by editing three memorable albums, "Borrokan" (2002), "Hitzez ulertu ezin dudana omendu nahi nuke. Oraintxe!" (2007) and "Zuak" (2014). SextySexers are more oriented toward the blues and hard-rock lands of great octane. They recorded three highly recommended albums, "Iluntze berri baten bila" (2006), "Urkamendi blues" (2007) and "Hero mantra" (2009). Later, Joseba Baleztena, guitarist of SextySexers, would initiate an interesting solo race, under the name of Joseba B. Lenoir. He has already released several albums, such as "Tenpesta" (2013), "Eguzkiari begietara so" (2016) or "Instroak. Vol. 3" (2019). Between Bera and the neighboring village of Sara (Lapurdi), born a band called Sorotan Babies. This basque combo enriched the local scene by spreading post-hardcore seeds with metal dyes through recordings such as"4 Dimentsio" (2011) or "Eskema" (2017).

Continuing into the valley of Baztan (Navarre), in village of Amaiur, was born Pantxo Etxebere, whose artistic name corresponds to Pottoka. Although he is a sheep shepherd, after winning an electric guitar and a bafle in a lottery, Pottoka became one of the most peculiar Basque songwriters. A self-taught artist with a very distinctive voice, Pottoka will debut in an album of homage to the veteran Mikel Laboa, "Txerokee, Mikel Laboaren kantak" (1990). After, Pottoka would share another great album with three novel basque rock bands, "Julio Kageta, Kiowak, Pottoka and SS-77" (1990). The basque label GOR was fixed him and published Pottoka´s first album, "La revoluzione della tradizione" (1992. In front of a punk band called Otsondo 602, Pantxoa Etxebere would record "Otsondo 602" (1996), a mini album where he was versioning itself ("Herri puta maitea" and "Martxa, neskak eta 68.ko edariak").

Inspired by Pottoka, the members of Ufestuek, a young music band from Elizondo (Navarra), continue along the path of punk-rock with desire and firmness. After editing "Lanari mus" (2004), Ufestuek would return somewhat refreshed, but loaded with acid humor and critical lyrics in basque lenguage. Albums such as"Faxismoaren harra" (2011) and "Zilo beltza" (2014) bear witness to this. Another sweet product of sound of the zone of Baztan valley are the group Kaskezur (in english, Skull). The sound concerns of this basque rock band are summarized in albums like "Itzulera kapsularik gabe espaziora bidalitako azken zakurrak" (2008), "Gure jokua" (2010), "Ilgora" (2013), "Azpisugeak" (2017) or "Ihesi doaz animaliak" (2019).