Giorgios from Palmos workshop is part of many bands which fuse elements of past Greek musical history and present day musical projects. For instance, one of his bands makes socio-political rap with Ancient Lyres. I will take a listen to some of this style of Greek fusion in order to use them as exemplars for my own summative.
Side project after FF.C, which was the first hip hop band in Greece. FF.C added some traditional greek samples, but none of it was played. From what I heard, Zarmpolipi was much more intentional with their use of sample creating a very distinctive sound with boom-bap J Dilla style drums, and repetitive loops of traditional Greek compositions. This is really displayed in their intro to their album: Eisagogí stis rízes.
In Nvchtes tou Cheimóna (winter nights), there is a really subtle melody in the back that is quite eastern/Greek sounding and a chorus sung by a woman in a soft, melodic style. In addition, there is a rhythm guitar track that helps law down a clear melody. Towards the end, there is a flute sound, almost sounding like Pan’s flute. But, it still includes those hip-hop rhythms and the rap flow is quite strong and aggressive like 90s New York hip hop.
Nkazi (gas pedal) takes elements of traditional Greek wind instruments (maybe Zournas and Gáida), rock style bass lines and riffs, samplings of a Greek man singing with eastern scales to create a really unique sounding style. It’s not exactly hip hop because of the singing, but it’s not exactly rock because of the microtonal elements and lack of a chorus, and it’s definitely not Greek popular or traditional music. It really manages to fuse key elements of Greek music in completely unique way.
Sa na chó nikisei (As if I had won) This piece is very clearly a rock, hip-hop, and rembetiko fusion moment. After an introduction with a rebetiko sample, it moves into a distorted guitar riff with hip hop drums and a man rapping. It constantly switches and sometimes connects the guitar riff, the rembetiko sample, the hip hop drums, and the rapping.
It’s hard to get more Greek hip hop than Dóro Adóro (Gift Free) in terms of sample. It starts with a sample of Klarino and a woman singing in an Eastern way. Once the beat drops, the melody sounds like it includes Bouzouki or a bowed traditional instrument like the Cretan lyra. The post chorus then lets all the instruments mingle with each other so you can hear the authenticity of the song’s influence.
Opou kai na sai (Wherever you are) melancholic songs speaks to me quite deeply, especially towards the end. Because you hear the trade off between distorted SRV style guitar riffs and traditional Greek singing and instruments, all over a hip hop beat. It comes together as a joining of cultures and influences. Even though I don’t necessarily know the meaning of the song. it still speaks to me because of its instrumentation.
They were one of the first hip hop groups in Greece, and infused ancient and traditional Greek instruments in their 4th album, Esetai Imar. According to Giorgios, people where not into it because of the switch to Greek traditional music and that caused the downfall of their careers.
My first impression of the music is that it is quite dramatic and hardcore. There’s a lot of aggressive rapping and almost theatric instruments and chord progressions. If hip-hop was used as military chants, it would sound like this. It’s like something Mike Tyson would put before his walkout to intimidate his opponents. But, I don’t see as much blaring Greek influence as I did with Zarmolipi, but its roots in Ancient Greek music may actually lie within the lyrics.
https://www.youtube.com/watch?v=-1jMxibAgA4
Pou n’ oi Pennes Sas is the first song on the album where I can hear some traditional Greek elements with the keyboard sample which sounds a little Rebetika influenced. But, it’s still quite ambigious and could be any Accordian harmony/rhythm. It still keeps up with the hardcore, heavy drum beats vibe that is present in the other songs.
Pythagorion the intro features a very clear stringed instrument playing a greek/eastern sounding scale up and down with a lot of reverb. Then, once the beat drops, we hear some shakers and a darbuka style percussion laying down a really open rhythm. Almost as open as Buttons by Timbaland, but doesn’t feature as catchy of a melody. Once we reach the chorus, it all joins together with a wind instrument (aulos or Zournas) and samples of a man singing. It’s a very distinctive beat and rhythm, with a heavy bass drum hitting consistently in something that is definitely not 4/4. I believe this song can serve as a really good example of what I’d like my own song to sound like since the lyrics deal with topics of Ancient Greek topics, there’s nothing too hip-hop and there’s nothing too greek. It’s a really good medium of all those elements connected. Also, open beat allows for this feeling of floating, which is something I really enjoy when listening to music. Trying to figure out the rhythm and the percussion instruments used would be really beneficial to me in trying to adapt it for my own song.
Panikovliton features, or rather highlights, an aulos/zournas sounding wind instrument with a very fast paced pre-dubstep/hip-hop sounding beat. Like the general beat sounds like the exercise music they would put at a cardio kickboxing class. Or the music in the background of Geometry Dash. But the wind instruments is very distinctive and adds quite a deep emotional quality to the song. It feels like the instrument is almost pleading, begging for forgiveness or the abily to slow down
Ksypnios Mesa Sta Oneira Kapoion Allon this song still features the dramatic instruments and progression, but it includes a stringed (bouzouki or baglamas) sounding instrument playing the melody. Once the chorus comes in, there is a Zournas or bagpipe sounding instrument joining into the mix. There is is still the quite aggressive sounding rapping, but I think it serves as a good example of adding traditional instruments to a track while still not having it overpower everything.
Is ta vathi tis kardias mou definitely has the clearest rebetika influence as it is a straight up guitar, bouzouki, baglamas, and klarino sample with a hasapiko rhythm and a singing woman after the chorus. Of course, it still has the boom bap hardcore rap drum beat, but the sample is incredibly clear. Serves as the perfect example of what the piece could sound like if I focused on only one sample.
Makris,varis chimonas I’m getting this vibe that the album moves from more conventional hip hop and reveals its Greek roots towards the end. This song, towards the end of the album, has very clear Greek roots with the bassline and rhythm, but also has a reggae bubble which is super cool and funky.