After the remarkable ferment of the previous decade, the nineties were a time of settlement or continuation of some solid experiences and a crisis of the many attempts at radical rock, which was no longer so original. The cleansing that the force of history once did in the singer-songwriter camp was now taking place among the radical scene. Styles bifurcate into variants and nuances, in keeping with the international times of change, mixing and blending. Autonomous recording initiatives emerged and died, and the independent work of fanzines and free radio stations declined to some extent. Creative sectors such as melodic heavy metal from Gipuzkoa, the thrash and death metal scene or the particular revolution of the classic trikitixa towards triki-pop and triki-mex stabilised.
The self-dissolution of the emblematic Hertzainak, a somewhat false return of Cicatriz (a group that, together with Eskorbuto, holds the record for premature deaths of Basque rockers, which are unfortunately abundant due to the abuses of youth) or the appearance of more modern sounds such as those of Bizkar Hezurra (with ex-Cicatriz and Korroskada) or the very tough Soziedad Alkoholika marked the new decade. La Polla Records lost Records in an internal legal conflict, but continued to fight, later as La Polla. The gaztetxe ocupado (‘the house on the hill’) and venues such as El Elefante Blanco, which partly replaced The End (both now defunct), have kept the flame of live music burning.
A sign of the new times is the slow displacement of young musical efforts to Llodio and even Amurrio and Salvatierra (Kaos Etiliko). In Llodio, a gaztetxe and a more ‘radical’ squatt came to exist in parallel, through which a large number of international ‘alternative’ rock groups passed, and the ‘free’ radio station Pirula Irratia has been in operation. Danba was the big local band, with a couple of albums recorded. More recent names from Llodio-Amurrio have included CLGSE, Une Latzak, Flying Pigs, The Drellas, Ironic Cancer Phobia, etc.
Beti Gerla have been classic txalaparta revolters, searching for sounds with wood in iron or stone. Trikitixa Kontrairo seem, in the specific field of the diatonic accordion, the festive continuation of the seminal Banda Municipal de Ska. Tomás San Miguel is a restless creator who has mixed new age ambient airs with txalaparta experiments.
A curious initiative in Vitoria is his Asamblea de Parados (Assembly of the Unemployed), which has often organised the Fiestas Alternativas Mikelín, in Abetxuko, with important musical gatherings, and has even released some records, the most recent one by the former Potato Potxo Torena. To commemorate their eleventh anniversary, they released the compilation 11 Años de Lucha Contra El Paro on the Oihuka label, with well-known songs by Basque rock bands.
Good news in ‘93 was the collaboration the veteran Navarrese rock band Barricada and the camera skills of Juanma Bajo Ulloa from Gasteiz, who filmed a music video in the gaztetxe in Vitoria. Other groups from Alava that have had a certain public impact have been A la Fuga, Primavera en Chernobil, UTM, Rock Dam, Rock Dam, Ke de Ke, B.O.2, Ley Seca, Segundo Banana, Sexto Sentido, etc.
In 1988, the album Araba viento en Pop tried to capture the local pop reality, promoted by the Correrías Musicales Alavesas collective and created in the Cuvyco studio in Gasteiz. This establishment was the idea of a cooperative of local musicians around the group Liquidación Por Reformas. The groups Segundo Banana, Mitxel y Los Renos, Exceso de Cupo and Ketedén took part in that recording. Los Banana would go on to record two albums of their own in 1989 and 1992.
But the great group from Alava, after Hertzainak and La Polla Records, has been Soziedad Alkoholika, in a hard thrash metal vein, direct and explicit in their lyrics and with their own record label, Mil a Gritos, which has welcomed other bands.
The rock scene in Bilbao, and in Bizkaia in general, seems to reflect the industrial harshness of the environment, it is almost always rock and hard rock. From the early days of radicalism (Zarama, Vulpess, Eskorbuto, MCD, Parabellum, Distorsión, Zer Bizio?, AHV, Radical HC.) to more recent times with Etsaiak, Parasma, Beer Mosh, Juicio Final, pLT and many others. But the analysis becomes more nuanced if we take into account the right bank of the Nervión, especially the Getxo area, where the effervescence of much more anglophile and refined pop-rock groups stood out in their day; for example, El Inquilino Comunista or Lord Sickness. The so-called Getxo Sound had the official support of the local cultural authorities and brought together dozens of bands, almost all of them very young. Not forgetting that during the radical times in Bilbao, Getxo-Algorta also produced a band as atypical and not at all rockist as Lavabos Iturriaga.
A new line of Biscayan rockers has been that of groups with guitar styles, but not expressly hard, punk or heavy, but with more innovative and complex intentions: Cancer Moon (a half-Biscayan, half-Guipuzcoan duo), Piztiak, Hazurbaltzak, Ama Say, Sasoi Ilunak, Martxoak 31, Broken Bihotz, Zea Mays, the successful Exkixu and others.
In the more pop-oriented field, proposals such as the coastal band Punta Galea -with a girl at the front- have worked, and Gris Perla (in a more rock style) has been a good example of a constant group, with several albums recorded, but without managing to make the commercial leap. There have also been experiments oriented almost towards the sinister, such as La Hermana Mary, with recorded albums, or La Casa Usher. In the classic rock vein, the group Platero y Tu has managed to make a name for itself in the national market (it may be the most successful musical group from Biscay since Mocedades or Dinamita pa los Pollos, all three in very different styles) and the experience also leaves room for the solo adventure of its singer: Fito y Fitipaldis.
Other names in urban or street rock are Rabia, The Flying Rebollos, Irula, Trauma, Cuestión de Costumbres, Sedientos, etc. On the harder side are The Trasten Traste, Juicio Final, Éxodo, Beer Mosh and other names. And in a more guitar-heavy and Americanaide tendency, La Secta, Los Clavos, Los Rotos, Pop Crash Colapso, Los Extraños and others and so on; a sound scene that has always been alive and active, although without breaking the boundaries of mass success. The alternative work of the libertarian distributor DDT, dedicated to radical amateur groups or those with few means, stands out.
A significant initiative appeared in 1990: the LP Txerokee, a tribute to Mikel Laboa by a wide range of performers, which meant the recognition of the youngest rock musicians for the work of the great father of modern Basque song. Previously, the jazz musician and collaborator of Mikel, Iñaki Salvador, had passed through his own particular filter some pieces by the creator of Txoria txori in the original instrumental album Zilbor hestea. From the ashes of Kortatu (Fermín and Iñigo Muguruza) came Negu Gorriak, a major experience of Basque rock as a concept and as an influence. Negu Gorriak starred in a long list of albums, videos and, above all, concerts and international tours, including some massive gatherings (Oiartzun, Baiona, San Sebastián) in support of their lawsuit with the civil guard general Rodriguez Galindo, who sued them for defamation in the song Ustelkeria. After dissolving another project, Fermín Muguruza has settled his Dub Manifest, which has even toured Japan and China. Iñigo (who was once a member of the coastal band Delirium Tremens) first created Joxe Ripiau (with another musician brother, Jabier) and then Sagarroi. Jabier Muguruza had formed Les Mecaniciens and then continued his musical career as a solo artist.
In San Sebastián there were also a of names and styles: Baila Nelly, Insignificantes, Ojos de Carmen, Para Lelos, Frisco Jenny, Utikan, Squadron Club, Purr, etc. (all with recorded albums) and Certificado de Defunción, Grossen Jarren, Stick and others. From the old occupied schools of Buenavista, on the border with Pasai Antxo, also came a stream of strong rock sounds: La Perrera, Nuevo Catecismo Católico, Censura, Discípulos de Dionisos, Señor No. A whole veteran scene was maintained in the capital of Gipuzkoa: Javier Sun (ex-Scooters), Sanchís y Jocano, Amor a Traición-Deriva (ex-UHF), Enrique Mingo/Lágrimas del Sur, etc. And the so-called Donosti Sound had a particular impact (an encore reissue, if we stick to the aforementioned label created by Santiago Ugarte a decade before): the influential Familiy, 23 Ojos de Pez, Aventuras de Kirlian, Le Mans, Young Brian Superstar, Daily Planet, La Buena Vida, etc. And parallel stylistic openings such as those of Javi Pez in Parafünk, the Sirope collective and the Novophonic record label.
In Alto Urola, groups such as Iparraperoak, the blues of Josi y Los Javis and De De Deukans and the local compilation Motx were released, with Katu Kale, Hartu Arte, Antisepsia, Rama de Ke, Bardulians, Expansión and Valle del Dom. In Azkoitia-Azpeitia, a collective album was released with Zilbor Hesteak, Fundiziyue, Tau Ceti and Mesias Berriak; and there have been Eztuk, LS Sengor, Signaculum Virginitatis or the extremists Akauzazte (with their own album). From Zestoa came the triki-rock of Lin Ton Taun, which later evolved, with several records, one of them recorded with an important international record company in Madrid. Eibar was a key point of the first heavy metal in the Basque Country, with the long-lived, successful and influential Su ta Gar or their colleagues EH Sukarra.
In Arrasate there have been DDDP, Iskanbila, Zakarrak, Ume Gaiztuak and Child Abuse. On the coast, the zumaiatarras AGE or the zarauztarras NAM, Iluna Beltz and especially the hard rockers Anestesia or Bi Kate, with several albums recorded. The Hondarribitarra scene had a happy moment, reflected in the collective album Underribi, which featured Beti Mugan, The Illusions, Orgasmic Toothpicks and Dut. Most of the members of Sorotan Bele, a folk-pop group that became very popular, came from there. From there came Mikel Errazkin, autonomous creator and head of the Hirusta record label; also its vocalist Gorka Sarriegi, now as a pop-rock soloist; or Urbil Artola, who performs and records as a duo with his father, the veteran Txomin.
The Lezorrotik at! compilation was released in Lezo, with Harlax, Cromlech, UZB, Nitro, Ibon Salaberria, Iñaki Labaka, Lorea, Flase Prophet and Ozel. From Pasai Antxo comes Urtz, a classic rock group with several albums recorded. Errenteria is home to the rock collective EMTE, which released an album with the groups Txunpa, Ezin UK, Ostikada, Kashbad (with several albums of their own), IIam, Ilusio Faltsuak, Inercia, Los Kebras, the veterans Para Lelos, Bihotzerre, Mortal y Rosa, Holly Blues, Psicosis, Desecrate, No Toxic Pipe and Ke+Da.
In the always restless Tolosa, the Basque language collective Galtzaundi released samples of local bands on cassette, CD and video, with names like Triki Up, Waika, Régimen Brutal, Muxutruk, Humus, etc. Kixmi, Depósito, Anima Vili, Anima Vili, Uncle Mussels and the more solid bands Deabruak Teilatuetan and Bide Ertzean have also emerged from the paper town. Ikara, Larrua Truk and Sugoi have emerged from Usurbil. In the Goierri region, from the broncos Potrotaino to the modernists Anímese Martínez, among many others.
Itoiz's Ipartarra connection has given rise to sound experiments such as Akoka (Xabi Pery) or the reggae of King Mafrundi (Jimmy Arrabit). While a classical voice like the endearing Maddi Oihenart's is still in demand by other colleagues (the latest being Juan Mari Beltran), the Zuberotarra Peio Serbielle or the Bajonavarro Beñat Axiary, each in their own particular , are a good reflection of musical concerns; both with varied recordings of their own or in collaboration with other creators.
Pantxoa Xabaltx moves in the folk field. In the strictly rock field, names such as the heavies Killers, Les Trolls, Caid Decit -straddling mugas- or Burlesk have stood out. The long list is extended with Mokoka, Txakun, Mister Saguak, Sustraia, Mikelats, Haurtzarrak, Keñu, Kapten Egurrak, Txingoma Bi, Voodoo Muzak, Beltzez, Buruko Mina, Ex-Aequo (more veterans), Karrikattarak, Jan Edan, Total Xingar, Zapozain, Kaparosto and above all the lively border band Skunk, with their own label (where they have released compilations or the group Yassa and their album Papier cravate) and frequent trips abroad.
In February 2001, the hardcore rock collective Iparkor was born in Hasparren, bringing together Ikus, Haurtzarrak, Kolpe-K, Hats, Mokuzatzu, Ikara, Dementzia, Ak, Berri Beltzak, Kontuz, Dixpachte, Eelam, Tupolev, Argia, Patxeroak and Inguma. The veteran and pioneer Niko Etxart co-ordinated the collective album Nortasuna with his colleagues from the south, Joseba Gotzon and Gontzal Mendibil, with well-known sportsmen singing in favour of the Basque national football team. The annual festival in Saint-Martin-d'Arrosa (Lower Navarre) is a good example of the dynamic health of the rock scene in Ipartarra.
The double album Tierra de rock/Rok lurraldea (1997) gives a good account of the past and present sounds of Navarre, with up to 36 songs by different groups. From the Pamplona band Malos Tratos (a group with recorded albums) came the soloist. Basque rock saw novelties such as Balerdi Balerdi, recycled from old adventures such as Tocamás. Also the bard from Baztan Pottoka, with several records. Or Bittor Aiape, a rocker from Pamplona who started recording records when he was still a teenager. And the mountain heavies Patagonia, now defunct. More recent Basque groups include Berri Txarrak and Nahi Ta Nahiez. On the harder side, Flitter (Estella), Koma (Burlada) and Marea (Berriozar) are successful. The collective CD Ecografía (Uff!!! Discos) reflected part of the most restless rock scene (Half Foot Outside, Greenhouse Effect, Ritual de lo Habitual, Tedium, Desoreka, Polaris, Rare Vocation, Los Rosslis, Los Ácidos, Grey Souls, The Glitter Souls, El Columpio Asesino, Doctor Kronismo, The Brillantinas and Instant Dance. From one of these groups comes Souvenir, a 60s-style Frenchified experiment.
Other rock names in recent years in the region have been Jugos Lixiviados, Múltiple 12, Mal Temple, Sátira, etc. Los Del Rayo came out of Altsasu-Alsasua in their day, with several records. In Bera-Vera de Bidasoa, Zup, Noise Hole, Gutariko Bat, Borrokan, etc., or the singer-songwriter Petti. In La Ribera, Piskerra stood out. From the amejicanada saga, Kojón Prieto and Los Huajolotes (with ex-Tijuana In Blue people, who worked chaotically to the cry of ‘here comes the napar-mex!’), came Tonino Carotone, a curious Italianising cross Navarre and Burgos. Skalariak have been flying the rhythmic flag of Navarrese ska for years.
In addition to the various compilation albums already mentioned, another long list of collective recordings gives a good account of the cascade of rock sounds that are sweeping through the Basque Country. Among the first are ¡Condenados a luchar!-BoroROCKari loturik! (Danba, BAP!!!, Ultimatum, MCD, Porkería T, ¿Zer Bizio?), released by Discos Suicidas in 1985, the double Bat, bi, hiru. hamar!, by the newspaper Egin, published by Oihuka in 1987 or Más que punk./Punk baino gehiago (Suicidas, 88). Other compilations from the vinyl record days are: Diez años de lucha contra el paro, + que Pop, Descarga Norte, En directo a todo gas, Deserción! and other similar ones. As already mentioned, in 1985, the so-called ‘disco de los 4’ appeared on Soñua, with Kortatu, Cicatriz, Kontuz Hi! and Jotakie, which eventually had a particular impact on Basque rock. The album Zona Especial Norte, shared in Suicidas by Eskorbuto and RIP, also marked an epoch in Basque punk.
Many compilations have official support, such as Hemendik, subtitled Primera Muestra Pop/Rock by Radio Euskadi and Euskal Telebista, the Gaztemaniak! series by the Gipuzkoa Provincial Council for new bands. Also the series of the demo competitions of the regional radio station Euskadi Gaztea, 2000 kantuz (E.I.TB.), Euskadiko soinuak (Eusko Jaurlaritza) or Bilborock (Bilbao City Council).
Other collective works are those published by the record labels themselves: Aurtengo GORakada series, or GOR ezazu zure burua (GOR), Esan Ozenki, Gora Herriak, Independentzia 5 urtez, Basque Electronic Diaspora (Esan Ozenki), Oihuka 88, 89, 90, 91, OihukaTU (Oihuka), Zaunka Diskak (Zaunka); Voices of Euskadi, Music of the Basque Country, Kantu nostalgikoak; Basque Music, The Sampler; Amodiozko baladak (Elkarlanean); ¿Dónde estabas tu? Basque Rock (DRO), Mil a Gritos (idem), Discos Suicidas 18 años (idem); Euskal Ska eta Reggae, International Reggae Martxaska (Skunk). Or single records such as Ipar Rock (Euripean Sua, Bat Bitten, Burlesk, Sugoi), in favour of the gaztetxe of Vitoria-Gasteiz, against the High Speed Train (TAV) and many others.