Occasions Their concert is tomorrow at the Frachon Theater, Stichima’s mail has been full of questions and concerns for years (mine). With their souls in their mouths, running around somewhere between training and real life, they did me the favor of answering almost all of them. From what “Bastille” means to them, to what exactly happened the day they found themselves in front of an investigator regarding one of their songs.
Big band, doesn’t talk much, and their priority is setting the stage on fire. Just like it will happen tomorrow.
It’s been eleven years since I released “Violence.” Has your view of “armed terrorism”, “plastic explosives, battery”, etc., changed at all in response today? On the other hand, imagine that you still view unemployment or the education system as violence. That nothing changed there.
Every existing power also ensures its continued existence through violence. Regimes, oligarchies and tyrants can in some cases be stopped, but in no case can they be removed by any means other than force. “Where he longs for freedom, he takes up a sword,” K. wrote. Farnalis in one of his verses.
Also, Marina, what track does this wonderful piece in the intro belong to?
The sample violence comes from Buddy Guy. One of the best guitarists ever and certainly the best alive.
By the way, would you like to tell us a few words about how you work? What can inspire you, when do you understand that “I have something good here”, what watches do you prefer, and who do you trust for a second opinion (maybe a third, because I imagine Valantis will be the second).
I don’t have a specific patent to work on, I like to make music spontaneously, so I use the right tools depending on the mood. Since hip-hop is very sampling, I like to mix a really cool sample with the instrumentals or vocals on top. My inspiration is my band and my feelings. I know I like something when I export it and listen to it through headphones on the train. I used to like the night hours because they were relatively quiet, but now I work according to my mood and instinct. Oftentimes I get together with friends, fellow producers that I respect and admire, and we pull each other’s beats together and exchange ideas. But in the final result, I trust Valantis only and exclusively.
Who have you been influenced musically?
I think I’ve been influenced by the widest musical range of genres out there (except a few genres for obvious reasons). I will distinguish between psychedelic rock and all categories of metal, as well as 80s and 90s rock and pop. But in terms of groove, I would say blues, jazz and soul.
Whose job is more unit? Who writes the lyrics or who makes the samples, music, etc.?
We’re both doing something that requires basic solitude. It is part of our machinery. But the most magical moment is when the materials each of us collect come together, and a new part of us is born. Metaphorically, but also in reality.
What song made your collaboration the most difficult on an artistic level?
This happens all the time, on many occasions. But we disagree mostly on details, not on a per-piece basis.
I read that you were prosecuted for the song “For a Great Race,” because of the lyrics that Christodoulos was portraying at the time. Do you want to tell me a little about what exactly happened? How did it end? I think they filed a lawsuit against Panosis who played the piece on the radio.
On the occasion of the publication of Karazaferes at that time in a newspaper that presented this article as blasphemous, some believers filed a lawsuit against the person who wrote it. Instead of us, Half Cumbria was invited, perhaps the only hip-hop group they knew at the time. At some point the Criminal Court of Athens approached us, and told us that the lawsuit which had originally been instituted in Hemi Cumbria was finally addressed to us.
We testified before the investigator – who herself laughed at the case – and in the end we were not prosecuted.
Marina, in a previous interview with Provocateur, said that “the hip-hop community once had to show teamwork and they didn’t do it for what I saw.” May I ask when you are speaking?
I’m talking about the period after Killah-P was killed by fascists and before the ESIEA interview.
Valenti, what does “bastille” mean metaphorically?
In the word “Bastille” I personally see the culmination of the impasse. A monument to injustice that would historically have been burned to the ground and new worldviews built over it. If any of us dreamed of a better world, the pastel concept would pose the most frustrating hurdle. This is nothing more than a lack of belief in the possibility of changing something.
“And where will you lean when the whole world is in revolt, how much will you see?” We have seen many times the use of this verse by young people in mobilization. How does it feel to see your words received in this way and turned into powerful slogans? Also, can you tell me some other verses you’ve seen used in a similar way?
Many of our verses have been used from time to time. We feel very good. If the world expresses itself through something about us, then that is something that makes us happy. I think everyone would be happy with something like this.
“Let us have sex like schizophrenics in love, like two people who respect their vices, and not like some bastards who eat their girls.” Even before the word femicide entered the broader vocabulary, before it began to be heard in the media, it was talked about. Firstly, all due respect. Secondly, do you think the term should be legally recognized?
The limits of desire, tranquility, and life elsewhere are, for the time being, determined by law rather than by education, but unfortunately it does so after the fact. Words that accurately portray the nature of the crime against women must be used as long as respect, sympathy and kindness – concepts that fundamentally define a human being – are absent and not so fashionable that young people arm themselves with them through their social relationships. Context.
On the occasion of this verse, how do you see the relationship between the artist and society? Should he, for example, see what is happening and record it before others can even decipher it? Should it be more advanced and warning? Do you feel like you do?
Everyone chooses what to put out. It’s about how comfortable he is to reveal what he’s found, but also about how bold he is in presenting it so as to leave no room for misinterpretation. We do not believe that there are rules in the relationship between the artist and society. The problem lies in the size of the community one chooses to include in their art, and how interested they are in it in general.
Valantis, does anger fade over the years? Does it change to something else? I imagine you’re not as angry as you sound in many of your older songs, at least to me. Or I’m wrong;
The way you choose to express your thoughts and feelings — including anger — is something that changes, even if the same feelings remain the same. That’s why each of our records is different from the last.
“Xenos”, apart from its main theme of refugee, also depicts AEK. I think you are not hiding the fact that you are from the AEKtzis family. Have you visited the new stadium? Are you watching her? Is there anything you like or don’t like about the “Team” theme in Greece?
It’s basically a piece about the refugee. It also mentions Pawk, and the verse “The square that played with the dirt” is a reference to Panionius.
I went to the new stadium once. I used to go over. Oka and Nikos Gomas. We don’t like people dying for who gets the “stage” and the glory, while the band owners make the money, wield their power, and at the end of the day eat and do business together. On the one hand, they demand non-political programmes, and on the other hand, they practice politics through the PAE in question. We believe that the fan movement should not allow this, but rather should exploit its power in the direction dictated by the values and history of the team in question.
How did you write “Edo Athens”? Are they words you’ve been holding on to for years and stuck with at some point? Are they words I wrote in one angry night?
No, “Here” Athens consists of three verses written simultaneously, without any specific reason. It was a piece we owed to our city.
What’s a song that you felt like you would drown if you didn’t write it?
I think “Nobody” is such a track. But we kept it in our minds for a long time until it finally had the style we wanted.
There are a lot of historical references in your articles. Has anyone ever told you that you pushed them to look up and read the story? Why are you insisting on the story?
We love history, and we think it’s a great teacher. It is an aid to learning tafsir today. For the same reason it is discredited, because it enhances intellect and imagination. It is, of course, something you should like and be interested in researching, and it is not something that is investigated piecemeal.
Some people find history uninteresting, and we partly understand that. This is what everyone likes, and what suits their minds and thinking.
Everyone I told we were doing this interview told me to ask one thing: when are you going to release a new full-length album.
We will release a new album when we have a collection of songs that satisfy us.
In Ground Floor in the Mediterranean, I think you’re talking about children working seasonally in miserable conditions, but also about the country turning into Disneyland, a place of entertainment for wealthy foreigners. Would you like to expand a bit on what prompted you to write these words?
In this particular piece, among other things, the exploited person is influenced, who has consciously assumed the role of his boss’s bully-dog and, within the limits of the knowledge allowed to him, not only accepts brutality, but can also impose it by name. of the product in question.
We must accept as a society that this is the way things are going to be.
The past decade has instilled in us brutality and produced cannibals who push people from ship catapults and drown them.
The last and most trite question. What can we expect? On Saturday, September 9 at the Frachon Theater?
Stichimas at the fantastic stage in – legendary Greek hip-hop – Byron. We look forward to being reunited with the world that always supports us.
Lyrics of the song, Saturday, September 9, at the Frachon Theater.
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