24 Nov 2018 Samstag
Einlass: 19:00 Uhr
Beginn: 20:00 Uhr
Vorverkauf: 14,00 € (zzgl. Gebühr)
Tickets kaufen

SOCIAL WASTE

...präsentiert von: Mixing Roots

Hip Hop

Social Waste were founded in 1999 in Heraklion, Crete. Seventeen-year-old students back then, they immediately attracted the attention of Active Member, the leading Greek hip hop group at the time and became members of their music production team “Freestyle Productions”. Bd Foxmoor (Michalis Mytakides), the frontman of Active Member, said back then refereeing to Social Waste in one of his interviews: “I only have positive things to say about the new generation…About Social Waste from Crete for example,17-year-olds that would be worth a fortune abroad.”

After years in the scene, numerous songs and lives all around Greece, in 2004 they left Freestyle Productions. Xray (Nikitas Nils Klint), ex-member of Active Member and current of Rodes described SocialWaste as one of the “most complete groups” in the Greek hip hop scene in one of his interviews.
Due to studies, work and unemployment, as well as other personal encounters, Social Waste left the Greek hip hop scene, and remained in silence until…today. In November 2013 they released their album “At Utopia’s fiesta”, in December 2015 they released their album “With a pirate galleon” and in February 2017 they released with the hip hop band Antipoina their new album “The Mediterranean Hip Hop”. They describe it as follows:

The Mediterranean hip hop

“The Mediterranean hip hop strolls the narrow streets of Marseilles stepping on rhythms from Maghreb. In Tunis it causes popular uprisings, and in Cairo and Damascus it gets under the dictator’s skin. It plays the lute in Crete, and the bagpipe in Elikonas, while in Sevilla a Spanish guitar plays its heart “allegro”. It uses samples of Fairuz and Markos Vamvakaris and raps its verses and refrens in Arabic, Greek, Italian, Spanish, French, Catalan, Sardo, Serbocroatian, Albanian, Hebrew, and Turkish. Bendirs from Istanbul and tamburines from Calabria are keeping its rhythm. And in its graffities, ‘Pavlos vive’…”