Although the old ways of understanding the creation and distribution or commercialisation of popular or young music are still active and what attracts the greatest public interest, and consequently commercial interest, are standard, non-renewing proposals, such as La Oreja de Van Gogh from San Sebastian, the accelerated changes we are witnessing in life in general and in this specific cultural sector (ease of composing and recording at home, total reduction in the cost of publishing, immediate distribution via the Internet, the capacity for market manipulation by the big television channels, etc.) are turning the traditional logics of functioning upside down. ) are turning the traditional logics of functioning upside down. Everything seems to be yet to be discovered, from the stylistic drifts taken by Basque music itself to the radical changes that could take place on the organisational level. What there is no doubt about, because there is enough evidence of it, is that the pop-rock scene or the music scene in general in the Basque Country has embraced - albeit in a minority, but decisively - many of the new sonic schemes that sometimes go beyond the classic labels and simply go beyond the typical corsets of pop-rock.
Unconventional rock sounds are present, albeit underground, and come to light, as in the case of the collective album Mer, released in Bera-Vera de Bidasoa (Navarre), with names like Borrokan, Gutural, Gutariko Bat, Zup, the better known Señor No, Dut and Akauzate, among others. In the first months of 2002, unconventional rock records have appeared, such as Café-Teatro from Zarautz and Audience from Bizkaia.
The San Sebastian dance scene around the Novophonic label is already a veteran in the new field and has created or helped to advance other new names from the capital of Gipuzkoa. In the compilation Donostia Elektronikoa 2001, one can discover new sonic daring such as those of Cepuntobandish, the pioneers of technology and already very veteran Línea Táctica, DJs like Pedro Destino and other recent talents. The more obvious and almost bakaladera contribution of groups like Hemendik At!, Uga or Wazen has popularised disco abertzalismo. The recent -gailu kuxa beltza (Pil-Pil Sessions, Metak), by Mikel Abrego and Luis André, is a novel contribution, mostly instrumental and rather indefinable in style. The techno scene from Iparralde stands out with a significant presence, with original names appearing on the two Basque Electronic Diaspora compilations (Xano+Em.C, Fin de Siècle, Vodoo Muzak, etc). The young creator bxt (Bixente Iriart), who surprisingly died in Paris at the beginning of 2002, stood out in these compilations. Iriart had collaborated with Anje Duhalde or with Txakun and King Mafrundi, before moving to Paris, from where his particular techno sensibility had arrived, which he put together in those compilation records together with Isabel Suárez or Iñaki Yarritu, both also in the Basque diaspora, in their case in London. A representative novelty of the restless ipartarra techno is also the record I:Shead. From Bilbao, techno experiences such as Cibernautas or Berlín have emerged, and Madelman or Chico & Chica have jumped onto the state scene.
Not forgetting other types of sound originalities, already mentioned, based on tradition but open to any new sonority, such as those of Juan Mari Beltran-Joxan Goikoetxea, the group Alboka, of Goikoetxea himself and with a recent collaboration with the great Central European voice Marta Sebestyen, the restless trikitilari Kepa Junkera, Tomás San Miguel from Alava, the young txalapartaris Oreka TX, the experimental jazz of the Navarrese Josetxo Goia-Aribe and others. Who can set limits to the horizon?