If one day the phenomenon that has conditioned our lives will end in a thousand ways, we could begin – the trace that Christians used to do – years before the pandemic (p.a.) and then (e.g.) count. Well, I remember it long ago (p.a. of course!) That colleague and friend Gaizka, who's not with us, discovered the Willis group in Oñati and brought me the record, the first of them. It had a raw, unrefined sound, but what a result! Firmness and intensity comparable to Fugazi of the Basque Rock (AC-DC?) and guitars, and sung in Euskera with laziness and feeling.

Then I've seen them and heard them many times, and I've enjoyed their concerts. The group is undoubtedly elegant, it has many good features. They got an increasingly warm, well-deserved welcome, and as a result came a point where, I have the feeling that the members of the group felt weird. They overcame that anguish and prospered, but in recent years there was something missing, perhaps freshness.

And, look, at one of those rare concerts of chairs and masks in Oñati (again!) As I walked in, I thought, "Acoustics?" Well, then I got into the acting, and I really enjoyed it. What a reroute! Jurgi Ekiza, Xan Bidegain, Felix Buff and Vincent Bestav – new fichaje – rewriting their chancellor in a very elegant and careful way.

There are people who only want Willis Drummond in the electric, but I think in this renewed proposal they have confirmed the belief that if a song is good, even naked, it is like this. And more than naked, I would have to determine without distortions, because they dress the songs with many nuances.

The songs take another tempo, each one his own, folk, american and rock in a very broad sense, even in the 1970s. Ekiza’s beautiful voice is further accentuated, and following Iparralde’s school, the voices of others are gaining weight. There's tension, there's lots of melodies and there's lots of careful details.

I think the result is enormous, and I am very glad that one of those special concerts – 15 songs – is translated into a record.