Did you get tired?
A little bit yes. I would have to say no, but that is the case. When you've been around for so many years, it's really hard to keep having jokes and desires. Every now and then you have a conversation with a group and you keep the illusion again, but in general, yes, it's very difficult and I've gotten tired.

Are you still attending concerts?
No, not long ago. In June I went to see the 40th anniversary concert of El Encartación, besides in Pamplona, was a must. Otherwise, I'm not going. I get some comments here and there, and so I'm following the clue of some groups, which I can.

And why? What's behind it?
Sloth. The other day, right next door, Tatxers played at the parties of the Miraculous neighborhood. A little bit of poteo, we had a dinner, the groups started at midnight, three in the morning to start Tatxers -- and I don't get that. I find it very difficult. We've been around for many years, often like gauchos, but now, being at home, I feel a kind of burden. That is what is there.

You've heard a lot sica.Antes about starting to work on this work,
I've heard a lot, and let's not say when we set this up. Now I keep listening on my own. I had a worse time than the present two or three years ago: I could no longer, I couldn't keep pace, saturation was very high. I had a great laziness to get to hear new things. But I turned him back, I don't know how, I reinstated him, and I needed him.

It will not be a very monotonous and sedentary job.
In the morning, when we get here, we open the choir, we listen to the calls, we look at the things that came to me, we manage the sales, we make packages, papers for transportation... These paperwork was always about to be done, and once I did this, I started listening to music, finding new groups and following the trail of known groups. It was eleven o'clock in the morning, they had coffee and they put themselves in that place. Obviously, the task varies greatly depending on the time of year.

The interview is taking place in June. Summer is going to be a good time to get things out to the market, right?
It would be better to do so before summer because people have to be given time. By now all products should be on the street. If we published a group album in spring, we would be managing and producing interviews and reports.

Therefore, post-release work is also important.
Every spring we made a couple of records, it's never been our philosophy to do as much as possible. We've chosen to make fewer records but be as busy as possible.

One of their tasks has been to listen to music and meet groups, then I think to contact them. It would also have happened to you, that they would beat you.
It has evolved. When we started here, as we played in the Balerdi Balerdi, we knew everybody, because we shared the stage with everybody. This is how we met Skalariak, and also Urtz, in Baztan. A friend of ours, Lekaroz's professor, proposed to listen to Urtz's mockup and share the stage with them at some parties. First we touch and then they touch. I sincerely say to him, his performance was an enormous madness, which in live was an absolutely bazanic atmosphere. We proposed that they come to record and they surprisingly offered them for the first time.

And once the taboos are left, is it harder to track?
You lose the circuit and the way you know the groups changes. When you go to the concerts, you learn a lot, of course, but if you don't, you get comments out there and over here, the trusted people call you and you get to the groups many times because the groups themselves have proposed it to you. Then, as you spend hours with these groups, they also inform you of other groups and musicians and make proposals. We have also had a good deal with sound technicians and they have a lot of information that interests us.

In general, Marino and I talked
about three components: originality, strength and good letters. With these three accessories you have to be able to combine, be an aviator.

You have worked with many groups navarros.Porque
is our territory, that has been the starting point. Here we've always moved, and knowing people, we've had everything more accessible. A small record like ours has nothing but to go to the other end of Bizkaia to listen to unknown groups. Or yes, but it will always be harder. Maybe now it's easier.

The changes have occurred in music, introducing more recent styles, and the time of the Rock Radical Vasco has been left behind. How have you lived it? Has it brought you any change? We have never had a definite style, we have talked to each other many times, perhaps the only definite
style we have was to like the group, with good direct, letter, charism... Everything changes constantly. They change times, shapes and styles; nothing is stable. That is why we have never confined ourselves to anything.

You have worked with groups of different styles.
Jo, yes. Urtz was American hardrock style, something like techno-punk ganglia, very original...

Tijuana in Blue...
And Kojon Prieto and Los Huajolote. They were hail exploding in laughter. They didn't know how to touch anything, but they liked people. These are direct ... People went crazy.

Today you hear the album from Tijuana and Potato, and it's amazing how they created music by putting empty cans in line. It was a punk era, that theory of “I can make music with the four things.” Those letters were also huge, they had a huge joke.

And how to forget it: From Outside
His model spent months on the Marino Bald, which did not see the possibility of publishing it as clear. He was very weird, he was troubled by vertigo. A day that gave him the wind from the south, he did not know why either, and he put in one of his collections of the year the song Goazen, which nobody knew, and he combined it with Koma, Berri Txarrak and Skalariak. Of course it generated a bit of stir, there were opposing views. In the festival txosnas it was not very welcome, and look where it is finished, where it is maintained.

Later, very linked to rock, one of the novelties was the piano melodies of Kerobia.They do not like
to tell them, but they were pop melodies of the time, like Coldplay, English pop. But it wasn't a copy. It was a group of great personality from the beginning, especially good. They gave us the mockup to listen and flip. The first album expanded a lot and took a huge leap with the second, Rose Escargot.

Were they part of another era?Something that has been
noticed with the turn of the century has been the arrival of a new generation, more knowledgeable of music. More academic training, more cultured and musical... It was made known to people who played music at a very high level, but obviously that does not mean that they have more jokes than those of Tijuana in Blue. You have to have jokes, grace, talent to reach the audience.

We talked about Navarre, but they also came to Bizkaia. Zea Mays is from that beginning of the new century. Together
with other groups, they opened the door to the century. They were very good, strong. Ken Zazpi also had a great talent from day one and sold a lot, for us it was huge. It is true that they came from Exkixu, doing the race, therefore, they knew how they were, but kept the spin, from the very beginning connected with the public.

For you, the other would be enormous. Berri Txarrak.
These got a more staggered climb, they went slowly and then yes, they exploded and marked a time, of course.

Times have also changed in consumption.
No CD is currently sold. Only a very important group can make big drives of disks and posters and sell it because it is him, but surely it will not be used later.

With people like Berri Txarrak you would live a good time.
Bad too for many years, we are a midcortonist (laughs). We struggled to start 32 years ago, and once we started working well with Urtz and The Huajolets. We went down, we went up again in Ken Zazpi's time and then continued with Berri Txarrak. We also made a tidal drive when they weren't that well-known, with them we did big numbers.

What do you say big numbers to?
We used to sell 10,000 records with a good record, and I think Marea's album was 25,000. Today, selling 2,000 is a lot. And 2,000 records would have to be sold to make it profitable. We are currently selling a tenth of what was previously sold. But I say: not everything is money. It is a pleasure to have the feeling of having made a good album, to be comfortable with the work; what you gain with a album is an investment for another that will have losses.

As a result of the 2008 crisis, they focused on equipment procurement.
We thought it was a solution to reverse the situation. Brother Marino inherited Kerobia, Lendakaris Muertos and other groups he rode with in Spain.

And then came the time of piracy. They also happened.
When the crisis broke out in 2008, we have been suffering the piracy crisis for about five years. We saw no end. 2010, 2011. That was the announcement of the death of the CD.

The truth is, fortunately, a U.S. multinational came to Euskal Herria, a distribution company to digitize the music, which carried great and well-known stamps here. We hired ourselves with them and started to see the light. Although we looked at it with contempt, it helped us a lot, because year after year our figures have been growing. Let's see how long it takes, because the world changes very quickly.

You also have to get used to not selling records.
We are tough times. What we were lacking was the pandemic, which we have also overcome. The very modern term “resilience” is often used, which we cannot be more adaptable.

Now you have to close. We're in boxes and boxes, everything's upside down. Here's a lot of work.
You don't know how lazy this gives me (laughs). We are returning to the groups with which we have collaborated, because we will make available to you all the master's work. We didn't know what to do, we don't know what to do in those cases, and we decided to put it in their hands, we think it's the fairest thing.

In addition, we will hand over to the Archivo de Música del Gobierno de Navarra the thousand models of these years, the concert posters, the press appearances of the works published... Marino is analysing this possibility and we are told that they will intervene. So, excellent. If people, amateurs or researchers want to see and study, they will.

Why have they not left the stamp in the hands of another person?
The logical thing is. We had an offer, but it didn't convince us too much. Because if we made that decision, it seemed to us that the label could lose its identity, because they could start publishing other kinds of groups, and that the groups that have worked with Gor would not be at ease. We talked to a lot of people, and we met a person who could be right. It took a week to think about it, but apparently it was too much work, it refused.