PEARLS & DIAMONDS

 "Bai, nahi dut papillons noirs...
Bai, nahi dut kamapean...
I´m nahi dut gauero musu...
Bai, nahi dut gehiago... More!"

Euskal Herria (Basque Country) is a small territory and basque lenguage (euskera) a minority language. Many basque bands have expressed their frustration by playing almost always in the same places and not being able to go out more often. In return, the relations between Basque musicians have always been very close, collaborating on multiple occasions, overcoming obstacles of all kinds and devising initiatives that would hardly have arisen anywhere else. The greatest handicap of the Basque rock scene is also its best virtue. 

Like any country, into the basque rock scene there are also music proposals that deserve one separate chapter. One of those special and unclassifiable basque band could be Ama Say. This band from Ortuella (Bizkaia) excelled at making an amazing mixture of distorted rock with beautiful lyrics in euskalglish (a euskera & english mix). The albums of Ama Say band hide a great literary load, making space for poems of Andoni Tolosa ("Gaua"), stories of Pako Aristi ("Papillons noirs"), american writer J.D. Salinger ("Adi Holden") or famous novels like "Dune" or stranger films like "Leolo".

Under Esan Ozenki Records label, Ama Say band debuted with "Ikusi ditut umeak kalean ametsak akatzen" (1992). Later, this basque band would publish "No iz pop?" (1994), a mini album recorded live into the emblematic concert hall Xurrut (Gorliz. Bizkaia). The third album of Ama Say band, "Say ama" (1994), sounded darker, but more pop, thanks to the collaboration of people like Nagore, the blonde singer of a mythical basque pop band, Beti Mugan. In 2008, after thirteen years of silence, Ama Say returned again with "Ren fan" (2010), an album that they had left pending to end in 1995. Gontzal and Karlos would be part of Zein ?, another notable basque rock band, extending the music legacy previously paid by Ama Say band with three new albums, "602" (2004), "Photogramak" (2006) and "Ahari-talka" (2008).
 
In the middle of the 90s, in Elgoibar (Gipuzkoa, Europe), a songwriter appeared who liked to act in bars and small concert halls. Like a fleeting pop torrent, the sound of Zigor Gazkez remembered that of a young and basque Bob Dylan. Zigor learned to play the harmonica at age eight and, at fourteen, got a borrowed guitar to start composing his own songs. In December of 1995, after offering a concert in Azkoitia (opening of the veteran John Martyn), a person in charge of the basque label IZ Records approached until Zigor Gazkez. Five months later, this peculiar basque musician recorded his first album, "Zigor Gazkez" (1996), alongside promising keyboardist Mikel Azpiroz. Its debut contained fourteen songs full of interesting metaphors and touches of folk and dylanesque rock. After performing successfully for some time, Zigor's musical career came back quite sporadically.

Also in the Elgoibar area came 6NEMEN9, perhaps the most suicidal pop group ever to appear in the Basque music scene. It is almost impossible to find another set more anticomercial in Basque Country. 6NEMEN9 edited two demos, "6nemen9" (1994) and "Ertzetik" (1995), and one fantastic album, "Pop-atic" (1998). With their first demo they won the Euskadi Gaztea, the famous competition by the basque public radio. But 6NEMEN9 band had so strange name, so provocative covers and so cynical titles (in english, "Pop-atic" or "popatik" could mean "From the pop side" and "To take it for ass") that the exit did not fit... This basque band´s songs hit quite a bit with the post-rock wave that triumphed in the late 90´s. But songs like "Euskal mistikoak", "Aita ondoezik", "Errebantxa", "Estanke ahaztua" are really greats ( https://6nemen9.bandcamp.com ). After its dissolution, some members of 6NEMEN9 would join new rock bands, like Aterkings or Uler 600... But that's another history!

Saz Le Bolo, a curious basque pop band emerged in the area of Oñati (Gipuzkoa) also debuted under the basque label IZ. Its strange name comes from the famous story of Little Red Riding Hood. Written backwards, "Saz le Bolo" would turn out to be "Zas, el lobo" (in spanish "Zas, the wolf"). At first, the band started as a duo, but ended up being a solid quartet formed by people like Bixen Mijangos (drums), Jabi Lazcano (winds), Jon Azpiazu (bass and vocals) and Imanol Ugarte (guitar and vocals). Their first album, "Xurrumurruak" (1986), contained seven beautiful songs of melancholic pop, with clear influences of the British new wave. In that time, Saz Le Bolo came to act in ETB (the Basque public television) in a popular show presented by Kaki Arkarazo, "Popazoro".

An animated series of ETB television (Euskal Telebista) written by the Basque writer Bernardo Atxaga, would inspire an amazing music album, "Flannery eta bere astakiloak" (1986). During his recording, JC Perez (Juan Carlos Perez) was supported by his colleagues from Itoiz, a celebrated basque pop band, Jean Marie Ekai, Jose Garate "Foisis", Jimmy Arrabit or Andrej Olejniczak. Together, they made a album aimed especially at children's audiences, one of the best pop artifacts ever published in Basque Country. Although the main voice was that of Monika Arzuaga, JC Perez´s choirs and his great music talent would make subjects like "Zapatari", "Apo armatua", "Ramuntxo detektibea" or "Astoak hipodromoan", just fade into any album of Itoiz band. What's more, the wonderful song "Kattagorriak Txinara" almost looks like the B-side of a basque pop hit, "Tximeleta reggae".

For 19 years, Buenawista, a big squat in the Casares street, in the district of Altza (Donostia), gave shelter to dozens of new rock bands of this basque city, La Perrera, Barrakos, NCC, Borraska de Vino, Coprofagia, Ke Putada, Falso Ilusion, Censura, Dead Movies, Discípulos de Dionisos, Why Not?, Ira et Decessus... Some of these bands, due to their marked quality and personality, gave birth to the so-called Buenawista Sound, obtaining great repercussions, especially outside of Basque Country. In the midst of that music magma, three self-taught young women decided to create their own rock band, Jauko Barik. Haizea (drums), Itsaso (guitar and violin) and Enara (bass) recorded a demo.  

Jesus Ordovas listened this demo, who invited Jauko Barik band to perform in Madrid, in Radio3 studios. Jauko Barik would record two albums full of rage and youthful illusion, "Jauko Barik" (2000) and "Bzzb ... eta goxatu!" (2002). Later, Itsaso would found another basque rock band, ON. The first two references of ON amplify the powerful sound record marked by Jauko Barik. "On" (2012) and "Zein" (2014) they waste melodic rock with intense lyrics that deal with very delicate conflicts, such as mistreatment against women, the bulimia or the repression into the prison of Saturraran...Zuzeneko taupadak!

Saioa is a Basque female songwriter, she is a free artist. Born in Legorreta (Gipuzkoa), her first songs drank of the American indie folk and in their intimate lyrics predominate metaphors that, inspired by nature, reflect the emotional universe of the author. Saioa debuted with the album "Particular land" (2007), a short work that preceded the superb album "Matrioska heart" (2008), whose design had the curious form of a cardboard doll matrioska. After a long break, Saioa returned with "Natura" (2013), an album recorded entirely in Basque lenguage and more oriented to pop thanks to the collaborations of musicians such as Joseba Irazoki, Felix Buff, Jaime Nieto, Txus Aranburu, Igor Telletxea, Mikel Xedh or Iñigo Irazoki. ( https://saioa.bandcamp.com )

In the village of Eibar (Gipuzkoa), another basque artist has made musical freedom her personal and creative seal. Maite Arroitajauregi was released by playing the cello in rock and pop groups like Lisabö or Anari but, under the artistic name of Mursego, Maite has edited a handful of records where she tries to experiment by bringing the classic sound of her instrument to new pop spaces. Mursego has managed to compose unrepeatable moments within the Basque scene and the admiration of state musicians, like the spanish songwriter Nacho Vegas, thanks to the power of her albums, "Bat" (2009), "Bi" (2010), "Mursegokeriak" 2013) and "Hiru" (2013). Authentic pop delicatessen that the beginner should taste without music prejudices ( https://mursego.bandcamp.com ).

In 2017, again under the Bidehuts label, Mursego would present "100% OION", a curious album where this artist collaborates with the inhabitants of Oion (Alava, Europe), a Basque village with 25% unemployment, 23 nationalities different and some problems of coexistence between them. The main idea of this curious music album is to try to improve the conditions of coexistence of the town and, with love, to bring to light the amount of rumors and stereotypes that are usually generated. Some local groups are involved in the album, such as the group of Muslim women, their sons and daughters, the teachers of the music school, the gazte asanblada, the local choir, auroros, several musicians of the town or the association Bitartean jolasean. In Mursego's album, the new listener will be able to hear an aurora dedicated to Oion, a chorus of complaints ("Oion is like the Far West"), a traditional Arabic song (with fragments in Euskera) or a tecnojota.

The 90's was the golden age of Triki-pop sound, where traditional Basque music was fused with more modern sounds. New ensembles, like Alaitz eta Maider, Gozategi, Maixa eta Ixiar or Etzakit, continued the path opened by veterans like Tapia Eta Leturia, a popular duo formed by Joseba Tapia (trikitixa) and Xabier Berasaluze "Leturia" (tambourine). After renewing the circuit of the traditional pilgrimages, Tapia Eta Leturia took a surprising turn, turning away from the folk and transforming into a striking rock band, Tapia Eta Leturia Band. This band was reinforced including respected basque rockers like Mikel Artieda, guitarist Jose Alberto Batiz or Fernando Leiza. They recordes "Tapia eta Leturia Band" (1995) and "Ero" (1997), two crazy albums, a fun mix of triki-pop, rock and rap with hits like "Galdurikan nago". Tapia Eta Leturia Band enjoyed great success in the Basque Country, but, later, Tapia and Leturia would return again the path of folk and festive romerías like one duo.

At the same time as the Triki-pop outbreak, in the area of Navarre (Europe), many fight start in favor of the insurgency against Spanish army service or environmental actions against the construction of a giant swamp in Itoiz (Navarre). A peculiar basque folk band, Koiuntura made many songs by supportive this popular fights. The members of Koiuntura filled their van and used to go on tour throughout the Basque Country, acting in bars or on the street itself, without stage (this was more comfortable). The lirycs of Kointura enjoy the feeling of the words and the musicality of poetry in basque or spanish lenguage. Just to have composed a jewel like "Presoen ametsak", Koiuntura deserve to be inside these pages. This folk band had the firm desire to put music to all their concerns, bringing poetry closer to daily and the struggles of the people. Kointura's legacy is four albums, "Días turbios" (1991), "Askatasunaren haizea" (1992), "Eguzki begiratuz" (1994) and "Itoiz bien vale un cable" (1996). As curiosity, a punk band from Sardinia, Tzoku, make a cover of a Kointura´s song in Sardinian language ("S'ardore popolare").
 
An actress and singer from Lazkao (Gipuzkoa, Europe), Miren Aranburu, shines like a magnetic pearl between jazz and pop more experimental. Miren debuted at a young age thanks to "Lehertu da" (1977), a disc framed within the 70's protest song. After meeting the saxophonist Jean-Louis Hargous, Miren leaned towards jazz. But his first album "Etorkizunaren Memory "(1996), hardly had repercussion outside the circuits jazzisticos. Nevertheless, Miren and Jean-Louis decided to continue forward distributing through Internet their next album, "Bioleten negua" (2000). In order not to leave that album lost in the big Internet, Miren Aranburu contacted with a basque music label, Gaztelupeko Hotsak, to reissue this work under another title, "Gorri isila" (2002). Her next step was "Lorategi hibridoan" (2005). This album featured as a cover a painting painted by Miren.

After the death of the Spanish dictator Francisco Franco, a lot of Basque music bands went up on the stage with desire to recover the desired expressive freedom. Between 1975 and 1980, before the punk tsunami destroyed every conventions, the progressive folk and the symphonic rock was the vanguard of the rock scene into the Basque Country. Curiously, the fact of betting on singing in Euskera or Basque (a minority language), is what has made possible not forgotten the fine legacy of bands like Sakre, Koska, Lisker, Haizea, Itziar, Kemen ("Ez, ez, ez"), Izukaitz or Enbor. 

When protest folk song was at its peak, Haizea band (in english lenguage, Wind) refreshed the atmosphere with a much more poetic sound, underlined by the sweet voices of Amaia Zubiria and Txomin Artola. On their first album, "Haizea" (1977), the band achieved a certain success, which made it possible to publish their second album, "Hontz gaua" (1979), considered a jewel among progressive psychedelic fans of the 70´s. Izukaitz is another outstanding band of that old progressive Basque folk. After editing the album "Izukaitz" (1978), this band recorded "Otsoa dantzan" (1980), a more mature and complex work. After, Fran Lasuen and Bixente Martinez would become part of a celebrated basque folk band, Oskorri. 

 Another basque rock band, Sakre, showed a harder sounds, less folk. Its members were deeply involved in symphonic rock of their time. Inspired by some conceptual works of a certain success, they decided to compose "Bizitako gauzak" (1978). It was one album recorded very quickly, in a single shot, on a four-track table. That album was composed of two suites, one suite per each side of the vinyl. The songs told the story of a desperate man and the things he had to do to survive. In 1980, after the dissolution of Sakre, several of its members would pass through the ranks of basque pop bands like Klabelin Komik, Egan or Basakabi.

Enbor was a band formed in Bilbao (Bizkaia, Europe) that surprised, very pleasantly, for his daring mix of psychedelic rock (very present in his first album), folk and jazz. Enbor was encouraged to incorporate saxophones, bass clarinets and flutes into his rock compositions, publishing two albums that are two authentic treasures for many collectors of this 70´s rock genre, "Enbor" (1979) and "Katebegiak" (1980). The second album is rather more progressive than the first, has fewer vocal arrangements and fewer choirs. In "Katebegiak"' album, the A-face is a flamboyant 17 minute suite titled like album.

Koska band was also a pioneering combo into the basque rock scene. The first album of Koska, "Koska" (1976), was recorded in a studio in Madrid and it was very successful, especially considering the limited market in Basque Country at that time. The next work of Koska was "Bihozkadak" (1978), a album recorded in Donibane Lohizune (Lapurdi). It contained doses of progressive rock and lirycs with great social commitment. Another pearl of basque progressive folk was Itziar band, which took its name from its main vocalist, Itziar Egileor. The band released a fantastic homonymous album, "Itziar" (1979), which hides a handful of intimate pieces adorned with flutes and mellotron touches whose echoes are reminiscent of Haizea band and the early albums of Itoiz basque band.

In the area of Eibar (Gipuzkoa, Europe), fruit of the union of two rock bands, would arise Lisker. Ernesto Gómez (guitar and vocals) and Javier Zabala (bass) came from Jeiki, an intimate basque folk band. Julián Alberdi (guitar) and José Salado (drums) came from Zima, a teenage group of garage and progressive rock. As a result, Lisker's musical influences ranged from Eric Clapton to Jimmy Hendrix to Soft Machine, King Crimson, Crosby Still Nash & Young, America, Bob Dylan, Leed Zeppelin, Mikel Laboa, Xavier Lete and Benito Lertxundi. After winning a prize of a musical contest, Lisker managed to record its first album, "Lisker" (1979). Like hundreds of Basque groups, the obligation to leave everything to fulfill the fucking militar service into Spanish army would completely disrupt Lisker's career. After undergoing several changes in the formation, this Basque band left the rock. It was recycled like a respected group of verbena in 80´s.