IRUÑA FOR KATAKRAK

"Lore Etxean 
biziko gara,
hesi guztiak 
gainditu ondoren..."

 
Pamplona / Iruñea (or Iruña) is a provincial capital city, not very large, quite conservative and with a street full of names of bishops and old military. Even so, the music scene that has been generated in this city since the 60's is surprising, especially in regards to hard rock. In the 70's, folk and protest song were predominant thanks to great songwriters like Fermin Valencia and bands like Etorkizuna. Even so, in June 1978, a festival organized by the town hall in the gardens of Taconera reflected that in Iruñea/Pamplona city already had a certain rock quarry thanks to pioneering bands like Kafarnaun, Magdalena, Tensión, Tocamás, Nerón, Kaifás, Ligarza, Landrú, Tubos de Plata (Silver Tubes), Fuletamol, Mugre or Cañamazo. Of some of these bands would arise rock artists that would give much to speak later, like Josetxo Ezponda (Los Bichos) or Enrique Villarreal "El Drogas" (Barricada).

The basque rock scene began to take off in the area of Iruñea/Pamplona with Magdalena band. This band took its name from the same neighborhood where they had their rehearsal room. Magdalena band edited one album, "Lanera sartzen" (1981), with 8 beautiful songs like "Rockanrol", "Lasa II" or "Lanera sartzen", that linked progressive folk with rock of the 80´s. Finished teh censorship of the Franco´s spanish dictatorship, the social and political situation in Navarre stirred, considerably, impelling new spaces to be able to explore and enjoy. Some Navarrese rock bands opted to compose, also, songs in basque lenguage, like Kontuz Hi ("Gizon bakoitza"), Fiebre (Josetxo), Tijuana in Blue ("Dantza zure botilarekin"), Zarrapo ("Oihu") or Matraka ("Lurraren gatza", "Ipuin berri bat", "Jone"),

The memorable Matraka band emerged after the dissolution of Belladona band, when three of its members, Josebe Garialde (voice), Puri Alzelai (bass) and Maria Cerrato (drums), allied with a new guitarist, Janis Ortiz de Zarate. After almost three years of waiting, Matraka band released their great first album, "Gure salaketa" (1990). Inside they intercalate songs in spanish and basque lenguage. The next album of Matraka, "Beldurrik ez" (1991), was also published under the Basque label Oihuka. A similar case carried out the appreciated vocalist and guitarist Toño Muro. Before compelling himself to compose in Basque lenguage, Toño Muro passed through rock combos like Tocamás, Motos or Fiebre. Thanks to this previous experience and in the company of good friends (Blanka, Zara, Patxi Goñi or Marino Goñi), Toño could record best basque pop albums at the head of Balerdi Balerdi band. The beginner will be able to discover beautiful songs as "Iraila", "Beti gazte", "Lore etxea", "Toki Lekun" or a successful basque adaptation of the American group The Smithereens ("Behin eta berriz") inside amazing pop albums as "Balerdi Balerdi" (1991), "Ez gara galdu" (1994), "Hobe behin gorri, ezen beti hori" (1997), "Hegoko lautadaren ertzetik" (2013) or "Galtzen ikasteko metodoa" (2017).

Another artist who learned Basque lenguage after setting up his great rock band was Fermin Muguruza. For sentimental reasons, this musician spent many hours kicking the streets of Iruñea/Pamplona city in the agitated 80's. There, Fermin Muguruza witnessed several actions that warmed the streets of the Old City, from rugged punk concerts in Calderería street, to the first attempts to occupy a gaztetxe (basque squat) or the numerous marches against the shooting range of Bardenas or the big swamp of Itoiz. At that time, punk-rock music filtered through everything. When smoke cans and rubber balls bounced through the streets, when there was no safe way to leave the pub, then video sessions were improvised with homemade shows of Barricada, Ultimatum or Tijuana In Blue band. What happened in the street was transmitted in alternative radios that emitted without censorship, like Zarata Irratia or the veteran Eguzki Irratia. As the music critic Oscar Beorlegui stated in his book "Insumisión en Navarra", the most contentious part of the local rock scene reflected in lyrics that enormous social tension.

Thanks to the impulse of bands like Balerdi Balerdi, Matraka or Zarrapo, from the 90´s, the Basque rock scene of Iruñea/Pamplona would multiply in quantity and quality. New bands appeared in the city, like Ahuntzape, Patagonia, Bittor Aiape, Begira, Seihots, ZTK Rap, Hibakusha, Skalariak, Na Tua Man, Biziaren Penan, Garraxika, Akatu, Dank, NX, Ados, Banda Batxoki, El Trono de Judas, Keltiar Aldea, Eztanda, Kuto, Kematxen, Saskarrak, El Sonido de la Metralla, Tatxers, Estralurtarrak, Chill Mafia, Behin Betiko, Asto Pituak ("Buru hilketa"), Garrasika, Las Foralettes, Suntsiketa, Txarralde, Skabidean, Ambulance, Ufestuek, Biluzik, Oskar Estanga, Skatu, Nahizer Bizkor, Candidato Manchu, Mrs. Jayden, Herabe, Larra Bideak, Bigarren Aukera, Anticontinente, Kasu!, Xoriñoak Kaiolan, Eragaitz, Raperos de Emaus, Arriskua!, Marianitoz Blai, Herdoil, Traba ("Gauaren lagun", "Argi izpia"), Xabi Bandini, Beietz, Hiruki Gaztea, The Icer Company... And very popular rock bands, as Barricada ("Graziana Barrenetxekoa", "Bihar ere berdin izanen da"), Koma ("Marea gora"), Khamul ("Hemen gaude"), Marea ("Eutsi goiari"), Txarrena ("Lasai lasai", "Gatilua sakatu"), Mosh ("Eraztuna"), Ciclonautas ("Pozoia"), The Guilty Brigade ("Desbideratuen deskontrola", "Egunsenti odoltsuenean"), Las Chinchetas ("Ituringo arotza"), Memo ("Haurtxo polita") or Kojon Prieto & Los Huajolotes ("Huajolote oinez"), would also be encouraged to play some songs in Basque lenguage.
 
In 1985 several members of the Eguzki Irratia devised Katakrak, a movement to promote the concession of self-managed venues where they could practice, paint, make fanzines ("Txop-txop", "N.F.N.B." and "NO!") or watch alternative cinema and free theater. Their initial intention was to organize a concert of a local punk band, Porkeria-T, inside the old movie theatre Arrieta. But they decided to speak, firstly, with the city council before squatting this  old space. No reply... On 30 March 1985, hundreds of young people opened a unused municipal premises without permission on Zapatería street, but were evicted within a few hours. Eguzki Irratia radio transmited all. "There in the background, in a corner of the dial, you hear a voice, another world opens... Smoke in its waves, smoke in the street, the blues of Hill Street continue to take care of you, young man". Incredibly, there are still videos with color images of that hectic time. ( https://www.youtube.com/watch?v=843zzvQbhOU or https://www.youtube.com/watch?v=cYl3Uk-LWDs ) 

Even so, support for Katakrak collective's claims grew, and a related compilation rock album, "Iruñea for Katakrak" (1985), was published with the participation of local bands like Porkeria-T ("Qué importa"), Tijuana in Blue ("Bebe y olvídalo"), Fiebre ("No se"), Belladona ("Una noche de amor"),  Malos Tratos ("¿Que esperas de mi?"), Ultimátum ("Patrias miserables"), Barricada ("Solamente una vez") or Todos Unidos ("Himno de Katakrak"). On 19 May 1991, the occupation of the house Lore Etxea took place. Until August 25 of 1992 year, that small self-managed space gave rise to multiple initiatives, from snacks and popular ribs to the first performances of Kojon Prieto y los Huajolotes, a mythical band of napar-mex. Kojon Prieto y Los Huajolotes would record three joyful songs sung in all, or in part, in basque lenguage, "Napartheid", "Éntrele al euskera, buey" and "Huajolote oinez". The charismatic vocalist Marco Antonio Sanz de Acedo "Gavilán" learned basque lenguage in his last years of life. Rest in peace, compadre!! 

On May 7, 1994, the old pediment Euskal Jai, abandoned for almost twenty years in the old town of Iruñea, was opened and opened to the public. The new gaztetxe Euskal Jai was gradually rehabilitated, from top to bottom, thanks to the voluntary work of dozens of youngs. Until its violent demolition in 2004, at dawn of a blue Monday (in middle the hot month of August), the gaztetxe Euskal Jai hosted in its sine hundreds of music concerts, workshops, talks and courses of all kinds. Only in their first year of life, in the gaztetxe Euskal Jai would be bands like Etsaiak, Buitraker, Pottoka Band, Anestesia, Potato, Los Mierdosos, A.Y.P., Malako, A.O.Wollock, Epidemia, Karkaxa, Txainas, Inozive, Konfusión, Orgón, Mala Fama, Makia Subversiva, Flitter, Fool de Txirris, Hemorragia, Child Abuse, Contrasto, El Corazón del Sapo, Malarians, Mistic Youtz, Family Fola, Xabatx or Koiuntura.

After the brutal demolition of the gaztetxe Euskal Jai ( https://www.youtube.com/watch?v=IU5bYUqeSfA&spfreload=5 ), in the center of Iruñea/Pamplona city was lacked for more than a decade of a big space where to be able to enjoy rock music live. In fact, until the opening of the great Kafe Zentral in December 2014, that interested cultural drought was palliated thanks to the impulse of some small but tough pubs, like the Terminal, Zulo, Subsoil, Infernu or Nebula. We can´t forget the enormous work developed by the Akelarre Kultur Elkartea, a cultural collective of the neighborhood of Txantrea. Since 2005, since that first concert in charge of Gualitxo band, Akelarre Club is already a reference for many musicians of Basque Country. In addition, for the neighbors Akelarre Club is also a place where you can enjoy multiple activities throughout the year. The final objective of this collective is the free dissemination of basque culture and rock & roll music. In fact, the famous musician Enrique Villarreal "El Drogas" celebrated with them his 50th birthday.

The irruption of new record labels also made things a little easier in the area of Iruñea/Pamplona city. Founded by the restless Marino Goñi (member of Motos, Fever or Balerdi Balerdi band), inside GOR Records music label were found different sound proposals like the successful Berri Txarrak band or Marea, Skalariak, Lendakaris Muertos, Leihotikan, Hemendik At!, Buitraker, Kerobia and a peculiar basque techno-pop duo called Ados. The musical saga of the Goñi family also extends to Marino´s brother, the producer Patxi Goñi, and Marino´s daughter, Jule Goñi, singer of [Gaur Ez]. With two albums on the market, "Gaur ez" (2012) and "Gaur ez II" (2017), the youngs members of [Gaur Ez] band like to combine varied sound environments thus carving an interesting post-hardcore style in Basque lenguage. In live shows, [Gaur Ez] band used to version with dance rock rhythms a well-known Zea Mays band´s hit, "Kukutza", dedicated to the disappeared gaztetxe Kukutza III (Bilbao, Europe).

The irredent Leihotikan band have been doing the same style for two decades, but they do it so well, that they have earned the hearts of several generations. Where the beginner will notice a remarkable evolution is in the design of its covers. Something understandable if one takes into account that great first album of Leihotikan, "Hemen ez da ezer aldatzen" (1998), it wears one of the most ugly covers ever devised... Jokes apart, under the influence of California melodic punk and basque bands like Ezin Izan, the discography of Leihotikan band is very solid. It includes great albums like "Lur" (2000), "Munduaren lehioa" (2003), "Ilunago, ederrago" (2006), "Harold" (2012) or "Non zaude?" (2018). Leihotikan's vocalist, Gorka, collaborated on "Mentiras" (1999), the debut of another basque combo, Arriskua!. He did choruses on the song "Harro dabil" with the singer Cristina Bol (now in El Columpio Asesino). Arriskua! band would close their first and only disc with a cover of BAP!! harcore band, "Azkeneko anarkista".

The need for self-managed premises also extended to the neighborhoods of Iruñea/Pamplona and its area. On May 20, 1995, residents of the neighborhood of San Jorge/Sanduzelai squatted the old Tobacalera factory renaming it as Txoko of Sanduzelai. Local rock bands, like El Trono de Judas or Punto Critico ("Beste bideak"), would find their place in the Txoko, but unfortunately, after four years of intense activity, a strange fire destroyed the building. The incident happened during a dark dawn of 1999 and, although the property did not count on electrical current (the light was obtained by means of a generator), the official version certified as cause to simple short circuit. The existence of three different focuses of beginning sowed doubt in the neighborhood. As usual, the protests of the neighbors were harshly replicated by the police. 

El Trono de Judas band (in english, The Judas´ Throne) lost all its music equipment, bafles and instruments, in the fire of the Txoko of Sanduzelai. To lend a hand, the alternative distributor Eguzki Banaketak encouraged the creation of solidarity bonds that, in a short time, achieved their goal. With the passage of time, El Trono de Judas became one of the most powerful bands in the entire state punk-rock scene thanks to albums like "Los que reparten la paz" (1998), "Tenemos que ser optimistas" (2001), "El sonido de la metralla" (2003), "Gure kabuz ala hil" (2007), "Zuzen AHTren aurka" (2009), "Espejos por ventanas" (2011) o "Barrutik" (2013). El Trono de Judas decided to finalize their musical performance acting in the gaztetxe of Etxarri Aranaz and in the popular rock festival Hatortxu Rock at the end of 2013. But from the ashes of El Trono de Judas would arise another great punk band, even more fierce, El Sonido de la Metralla (The Sound of the Metralla).

The basque dance-pop band Hemendik At! didn´t have it very easy. After the tremendous impact of their first single, "Goazen", the three albums of this band from Iruñea/Pamplona, "Hemendik At!" (1997), "Orain" (1999), "Etorkizuna" (2001), received, perhaps, too many critics due to their undisguised desire to develop a joyful euskodance without prejudices. The most purist sectors bet on more serious and intellectualized technos rhythms, while from the rock parish was suspicious of any set that used synthesizers because of the so-called Bakalao and the oversized sound Makina. The truth is that, without being perfect, Hemendik At! achieved songs very catchy, like "Izar uxoa". Especially when it was directed towards the more pop side, Iker Sadaba demonstrated to have a great talent to sew hooked melodies. Maybe that was not the right time...The scarcity of electronic proposals into basque music scene is striking, except for some exceptional cases, such compilations by the collective Basque Electronic Diasphora, the albums of Revolta Permanent band or the inexpensive third album by the basque singer Labrit, "Z8ortzi" (2016). 

What would have happened in the Basque Country if the punk and wild pogo of the 80´s had later mutated into a kind of Euskal rave? In the 90´s, in the midst of Europe's biggest youth rebellion, when hundreds of young men intsumiso collapsed spanish prisons and video surveillance was barely present on the streets, dance music could have helped macerate a broader and more social revolution. But that rebellion ended up being deactivated, from outside and from inside, for multiple reasons... In fact, in the United Kingdom, the government started issuing special laws against outdoor raves, acid house and much of the dance music. Dancing seemed to them to be somewhat threatening and, with the excuse of maintaining order and morality, they paved the way for the celebrated Brit-Pop, whose bland hymns would generate a lot of money, but embarrassing memories... As good says by the writer Emma Goldman, “If I can't dance, I don't want to be part of your revolution”.
 
Buitraker band debuted with a powerful album, "Lurrun makina" (1998), after generating an incessant word of mouth in Iruñea with its first demos. Although Buitraker started from punk and basque metal rock, this band was encouraged to integrate samplers and new rhythms, much more electronic, approaching a rather peculiar industrial metal music. On their second album, "Homologao" (2000), the machines were already one more instrument inside Buitraker band. After a glorious and intense decade, the album "Urrezko kabiak" (2005) was a brilliant end to Buitraker band. But, interestingly, the most representative band of GOR label are Berri Txarrak. This famous basque combo would come from Lekunberri, a small village in the north of Navarre. Berri Txarrak band's career starts with a homonymous album, "Berri Txarrak" (1997), which follows the wake of Su Ta Gar and the basque heavy metal of those times. Previously, Gorka Urbizu and Aitor Goikoetxea had been enjoying themselves in Nahi Ta Nahiez pop-rock band, actively participating in the first two albums of the band, "Plazaolaren martxa!" (1995) and "Basurdearen orrua" (1996).

In Berri Txarrak band´s next albums, "Ikasten" (1999) and "Eskuak / Ukabilak" (2001), the beginner will see a remarkable musical evolution. Pursuing a more personal sound, in tune with the rise of DUT band into the Basque rock scene, Berri Txarrak band would break all commercial and territorial boundaries with albums like "Libre ©" (2003) and "Jaio.Musika.Hil" (2005). His sixth album, "Payola" (2007), was recorded in Chicago (USA) along with respected producer Steve Albini. Berri Txarrak band would incorporate Galder Izagirre, old battery of DUT, after the departure of Aitor. Later, this basque combo would edit "Haria" (2011), "Denbora da poligrafo bakarra" (2014), a triple album that commemorates the first twenty years of the musical career, and "Infrasoinuak" (2017). In parallel, the restless Gorka Urbizu has been participating in other projects as interesting as Katamalo folk band or Peiremans+ pop band.

Aberri Txarrak is a kind of bizarre and basque appendice of the popular Lendakaris Muertos punk band. Within the ironic album "Ertzainis democrazy" (2015), Aitor Lendakari shows that he can also sing funny bullshits in basque lenguage. Acid themes like "PNV fax-ista" or "Mikelen heriotza", are some of the jewels that Aberri Txarrak hides its first album. It is worth noting that during the 90´s, long before they began to savor the honeys of success, the members of Lendakari Muertos enjoyed themselves in Basque groups as diverse as Eragaitz, Eztanda or Kuto. The sound of Eztanda band (in english, "Outburst") was something crude and metal. The legacy of this basque band is two demos with six themes, "Eztanda" (1995) and "1000 begi" (1996). They were recorded in the active studies Sonido XXI (Esparza de Galar) together with the veteran brothers San Martin. The titles of Eztanda band's songs explain many things from Iruñea city, "Molotoven legea", Subersibo","Garun rapatuak", "Izorra hadi", "Polizia"... In the later stage of Kuto band, music sound was influenced by more modern influences, towards a post-metal influenced, undoubtedly, by the strength of DUT band´s tsunami inseide the Basque rock scene. Return now to the album "Kuto" (2001), with those four tracks and that video In CD-Rom format, is like being able to travel in the tunnel of time.

The most pop side of the basque rock scene of Iruñea/Pamplona city is represented by bands like Baobabs Will Destroy Your Planet or the already disappeared Kerobia band. Baobabs Will Destroy Your Planet is a young rock band has the honor of being the first to record in basque lenguage in Abbey Road, the mythical studies of London (UK). In their first album, "Baobabs will destroy your planet" (2016), this combo show clear influences of the Anglo-Saxon pop and will not disappoint to that beginner that looks for different sounds in Basque language. For their side, and before founding Kerobia, Xabi Bandini (vocals and guitar) and Eneko (drums) passed by Suhar, a band formed by several companions of the classroom (ikastola), among them, a showgirl very fan of Saint Etienne band. After editing two albums, "Kerobia" (2004) and "Rose Escargot" (2006), the members of Kerobia band opted for total desktop publishing, announcing their resignation to continue to be part of spanish administrative entities like SGAE.

Kerobia band would embark on a great pop adventure, a wonderful trilogy whose thread is inspired by the colors of the garbage cans that exist in the area of Pamplona/Iruñea (green, blue and yellow), with the signature of the Basque artist Maite Gurrutxaga in all designs. "Materia organikoa eta gainerakoak" (2008), "Papera eta kartoia" (2009) and "Ontziak" albums are different from each other, but formed a memorable whole. They are a masterpiece of basque pop. "The lyrics may have a rather melodramatic tint, but I always think it's the most accurate and real way to define happiness. All songs have an upbeat message, "Anna Gray", for example, Final is told how he faced his reality with beauty, without mysticism, but with a crushing vitality".

Kerobia group said goodbye with a somewhat experimental pop album produced by their own fans thanks to crowdfunding, "Supernova" (2012). "We think we have learned a lot in the musical, in the way we do and in any other work where you have some goals, personally, as well. I would like all this to be in the memory of those who enjoyed it with us". In 2016 Kerobia band´s members would return with a new pop project called Anticontinente (in english, Anticontinent). Under that stranger name they have edited a mini album with six beautiful songs, "Anticontinente" (2016).

In 2017, four years after their goodbye, the members of Kerobia band met to offer a special concert on the 20th anniversary of Hatortxu Rock, the only solidarity festival in the world organized to be the last in each edition. "With the people of Hatortxu we have a very good relationship, it has been cool, but it is also true that we had to rehearse and train to get ready again, as we had a couple of years of dry break. But, when the show ends and the stage goes down, the band will return to the coffin" joked Xabi Bandini, the singer and guitarist of Kerobia. In fact, Xabi Bandini announced the release of new solo albums, as "Begibakar" (2018) or "Biba!" (2019). According to he commented on the therapeutic capacity to continue composing and singing songs, it is enormous, even more outside the home, in Madrid (Spain), in a twenty-nine square meter apartment. This Navarrese artist has returned to compose new recorded melodies from his home corner, without artifice, with voice and message.

Undoubtedly, the case of basque musician Bittor Aiape is unique. He was a daring songwriter who debuted on the local rock scene being a brood of just 13 years. In spite of his youth, thanks to the help of professional musicians like Mikel Irazoki, Jama Larreburu or Jean-Lou Corrihons, Bittor Aiape would leave a mark on a whole generation of Basque music fans. Under the label IZ, the energetic Bittor Aiape would publish four animated albums where the beginner can notice the natural evolution of the artist with respect to his age. This progression is reflected in both his voice, his rhythms (increasingly rockers) and, also, his lyrics (increasingly sharp and direct). His four albums, "Bittor Aiape" (1994), "Gaztea naiz eta zer?" (1995), "Azkena" (1997), "Beste aldean" (2000), are the immortal and even very demanding sonorous legacy of that young musician.

A crazy combo of lovers of american rock and folk punk of the irish band The Pogues gave life to Bizardunak band (in english, The Bearded Men). Singing in Basque and Spanish lenguage, the unstoppable success of this rock band gave way to a meteoric race, with incendiary shows and three great albums loaded with hymns against the injustices of power and established good taste. "No doubt, there aren´t shows like those in Tijuana in Blue ban. Many rock bands now take it more seriously, in more metal bands such as Berri Txarrak or Koma. People play very well, but the live shows are more serious. In my opinion, a group where it gives everything is in the albums. Shows are something else, in a live you have to hook the people or piss them off, the one who is watching it that is not eating a sandwich of chistorra and looking at another side". Finished the musical adventure of Bizardunak, Haritz Artola would form Unidad Alavesa, another great combo of rock & folk, next to members of basques combos as Ancha is Castilla (Gurutz Bikuña), Los Zopilotes Txirriaos (Eneko Dorronsoro) or Brigada Criminal ( Iker Arza). The promising debut album of this band, "Unidad Alavesa" (2017), has superb lyrics sung in Basque and Spanish lenguage.

Bizardunak band already pointed high, versioning many rebel classic hits inside the first album, "Bizardunak" (2009). Inside their second album, "Zugzwang" (2010), they would prove to be great composers, completely polishing their particular rock style with "Ur ederra kirats infinituan" (2012), their third and last work. Finally, Bizardunak would make it quite clear that the drunken irony of subjects like "Euskal Herriko oreoak" was very seriously... "Violence breeds revenge. We are not a didactic group, expose things as we see them, expose facts as inevitable.We don´t believe there will be a better world, nothing has changed, there will always be people who have the power and another who it doesn´t have it, people who live well and others who live bad. Just change the disguise". One of the members of Bizardunak was the restless Iñigo Cabezafuego (Black Lagun), a local songwriter known for his ability to mix lucid lyrics with psychedelic folk and rock.

Since 2006, Broken Brothers Brass Band enjoys filling the rhythms of blues, gospel or jazz with the old streets of Iruñea/Pamplona. Infected by the spirit of the popular brass bands of New Orleans (USA), albums as "The-life-we-deserve" (2012), "In The Mud!" (2014), "Ildoa landuz" (2016) or "Txertaketa" (2018) are an example of broad-mindedness. Inside these albums collaborate local rappers like Moisés No Duerme (member of Raperos de Emmaús) or Escandaloso Xpósito, artist like Iñigo Cabezafuego or vocalists like Nerea Erbiti. The beginner will be surprised by listening to the Broken Brothers Brass Band, enjoy the festive tones of "Azken kantua balitz" song, the punk tributes of "Dantza zure botilarekin", the Afro-Latin rhythms of "Gumbo ibaiertzean" or orgasmic minutes of "(Joan aurretik) Edan pozoi hau" therme. Broken Brothers Brass Band is also part of Iruñea NOLA? platform, whose desire is to gradually rehabilitate its city after many years of cultural drought, political censorship and institutional corruption.

With the passage of time, the Basque rock scene has been normalized in Iruñea/Pamplona, extending the eclecticism among the new formations of the city. At first, the local indie band Desoreka sang in Basque lenguage ("Beldurraren ahotsa", "Regi", "Behin batean"), but after the worldwide impact of bands like Pixies or REM. Desoreka band began to compose in English as well, and the four members, Unai (vocals and guitar), Gorka (drums), Markos (bass) and Aitor (guitar), led the so-called Pamplona Sound which, similar to the media Getxo Sound or Xixon Sound, generating a whole subscene in Pamplona/Iruñea. After editing a great album like "Not for you" (1997), Unai and Markos started to collaborate with the Arizaleta brothers in the ranks of another brand new indie rock band, El Columpio Asesino ("Leihotik").

Skalariak band also composed good themes in Basque lenguage, like  "Agur Euskal Herriari", "Txapeldunak", "O, neure herri" or "Arazoak arazo", with a interpretation of ska very multiracial, international, free and supportive. ""This way we feel making this music. We are Navarrese but musically the influence is Jamaican. Our songs are mostly in spanish, but also in Basque lenguage and in other languages like Italian, Russian, French or English, because our thinking can be anywhere in the world". From the ashes of the mythical Skalariak, other famous Iruñea bands like Vendetta or Juantxo Skalari & Rude Band would emerge.

In 2007 eight young musicians from Iruñea/Pamplona city gave life to Skatu, a basque ska combo of festive and demanding roots. While preparing the edition of its first album, the spanish police captured to Ibai and they took him prisoner to the prison of Aranjuez (Madrid). Even so, from inside his prision cell, Ibai would be able to participate in the recording of one of the songs of the basque group, "Zortziak bat!" (2009), whose title makes a reference to this serious judicial incident. The Skatu group not only acted on land in the Basque Country, but also toured extensively in Italy and Slovenia. Skatu's second album will be titled "Izana izanen" (2011) and delve into the same musical line.

 With some less success, other interesting local bands have also crossed the Jamaican musical path. Each one in its own way and style. For example, Afú band, a musical project born in the old gaztetxe of Barañain (Navarre) during that warm summer of 2005. The initial objective of the group was to shake the local musical scene. They would find inspiration in Victor, the unparalleled waiter of the pub Iparralde, who kept shouting "Afuuuuu!" each time they entered the premises. The first installment of Afú, "Radio Afú" (2005), was a bit bizarre, but very funny, since the recording collaborated rappers of the area, children, curious or a couple of young people from Senegal.

Afú's birth was the sensation of summer in Barañain and Pamplona/Iruñea, then would come the typical phase of continuing to get together to rehearse and achieve a decent repertoire to be able to debut live. This fact happened in the festivities of 2007, when Afú opened the Madrid rockers Habeas Corpus in the venue of the txoznas (party zone area). Three years later, would see the light "Aprendamos a desaprender" (2010), Afú band's first album, where they remixed ska, reggae, rumba or Latin rhythms with lyrics in basque and spanish lenguage. The repercussion of the debut of Afú grew more and more and the band saw redoubled its number of shows by Euskal Herria (Basque Country). In his next album, "Lurraren komunikazio taupadak" (2012), Afú band was enriched adding new African rhythms to its rich sound salad. This feeling would be further extended with his great third album, "Zoroak hegaz goaz" (2015).

Also in the area of village of Barañain would arise such remarkable bands as Kasu!, Arkada, Nekez, Begira, Soñadores Natos, Resaka or the always inspired Raperos of Emaus. This band  have helped to consolidate the growing basque hip-hop scene alongside other rap combos like Goienetxe Anaiak band, responsible for the album "Lekuz eztu" (2014), the veteran rapper Manugaitz, author of "Txapela barruan darabilt mundua" (2015), or the restless bertsolari Oskar Estanga. In their last discs, Raperos de Emaus have worked next to The Titanians band. So, in their new musical plan have changed the samples and the batteries programmed by an elegant band of live musicians, but without losing the essence and its message bullied rhymed in basque or spanish lenguage. Albums like "Distinto frasco" (2016) or "La ley del hambre" (2016) are a good proof of all this. In parallel, one of the members of Raperos de Emaus, Ritx, has released "Edozein bi" (2017), a great rap & reggae album recorded half with his colleague Aingeru (Soñadores Natos) and with the fine production of the always inspired Moises No Duerme. Inside the album of the duo Aingeru & Ritx the new listener will be able to enjoy songs as "Gaztetxean", "Bizitza motza" or "Besarkatu".

In 2003 several members of some local bands (R-Zetak, Seihots or Na Tua Man) would give life to Kasu! band (in english, Caution!). The intrepid Patxi, Josu, Mikel, Eneko and Sahats performed live in August 2004, and the following year they released their first album, "Beldurrik ez" (2005) with sixteen great songs. In 2008, while preparing their second album, the Spanish police captured Mikel and took him prisoner very, very far. This serious incident would delay the release of his successful second album, "2" (2009). After editing a rare album, "Bitxikeriak" (2010), they recorded "Erraietatik" (2012) and "Haziak erditzen" (2019).
 
Nekez is one of the most attractive combos of the basque music scene thanks to the albums like "Argiak piztu!" (2012), "Zure esku" (2013) and "Lokatzetako igela" (2015). The members of Nekez have been making clear that the local rock quarry is very lively and has a good future. The melodic voice of Joseba usually gives something sanity to the brave sea of nu-metal that generates the rest of the band. The songs of Nekez go up and down constantly, but without skidding, with zigzagging changes of rhythms. "To be honest we don´t rely exclusively on rock music from here, such as Berri Txarrak or Governors. In fact, this season we're listening to a lot of bands from outside, like A Breach on Heaven, Disturbed, Foo Fighters ... All that goes into our kettle and is cooking slowly".

Another notable local combos inside the spectrum of basque rock metal are Herabe band, authors of  "Egiari zor" (2018) album, and Khous band. Founded in the neighboring village of Berriozar (Navarre) in 2001, Khous band´s members were already winning the 15º Demo Competition of Gaztea radio before releasing their first album, "Taupaden bidetik" (2008). After surpassing several changes in the formation, the Khous band presented/displayed "Loturak" (2010), a powerful album of metal rokc recorded in the studies Realworld (London, UK). Khous bands´s next albums, "Itsukeria" (2013) and "Fedea" (2014), announce the arrival of another that will complete one trilogy, "Geroaren haziak".

The punk-rock band Banda Batxoki emerged in the neighborhood of Txantrea towards the year 2000. They began with great illusion rehearsing with very few means inside a loft. They gave their first concert on March 23, 2002, during the second anniversary party of the late gaztetxe Ezkaba. Afterwards, members of Banda Batxoki would tour the Basque Country alongside another local punk band, Kematxen. Step by step, these fierce musicians were making a hole inside the scene and playing more and more acceptably. Banda Batxoki´s claimed and claiming musical legacy consists of albums like "Jan goikoa eta lege zaharra" (2005), "Zaharragoak, gaiztoagoak" (2006) and "Bake garaietarako borroka kantak" (2011). Another punk-ska band, Txurrustada, started like a mere pastime of Txaba (guitar), Amaia (bass), Iñigo (drums), Asier (voice) and Erbiti (vocals). They debuted live in December of 2006 and, after much practice, they came to record one album , "Izateko jaioak" (2009).

One of the most amazing musical phenomena of Navarre is the so-called Napar-Mex, a peculiar music style are mixed the spirit of the jotas of Sanfermines, the Mexican corridos and the natural revolutionary passion of the Navarrese people. If in the 80's the lad grew with the college folder lined with drawings of Iron Maiden and stickers of Kortatu band, in the early 90's even the punks succumbed to the frenzied color of Kojon Prieto y los Huajolotes, the kings of napar-mex. With no more pretension than to be able to pay for the popular ribs organized in the squatting Lore Etxea, Kojon Prieto y los Huajalotes band began to act and, in a few months, they were already worshiped in all Basque Country. Ten years after the death of his charismatic singer, "Gavilán" (Marco Antonio "Gavilán" Sanz de Acedo), a crowd gathered in Ansoain (Navarra) to celebrate a great party in his memory and legacy. Worthy heirs of the Huajolotes have been new bands like Los Impekables, Marianitoz Blai, Vidrio eta Otxoa or Los Zopilotes Txirriaos. "Ardo gorri naparra, kubatar rona ta mexikar tekilarekin badugu zarata. Independentzi grina odolean eukita... Aurrera Napartheid, Che ta Zapata!"