Club Bahnhof Ehrenfeld
Sharaktah's slot is spontaneously taken over by the Berlin rapper Apsilon.
As the son of Turkish parents and guest workers, he is still where he grew up - in his native Moabit. After almost 10 years of writing lyrics, Apsilon has been spending a lot of time in the studio for a good two years. In terms of content, there is German rap with anti-capitalist analysis without a moralistic pointing finger. Provocative social criticism without compromise against white-German comfort and resignation. The delivery is a full load of rage, the sound is trappy and modern. New Wave.
Apsilon comes casually around the corner and puts basketball references next to racism criticism, cleverly strings together German idioms while breaking them and thus plays with the German language. Apsilon is no know-it-all rap, no street 2.0 and gets by without glorifying drugs, blind hedonism or contempt for women. At the same time, he does not exclude himself, but acts as part of this young, hopeful, broken society that lives in contradictions and wants to create something of its own socially and musically after all the disappointments of previous generations. No interchangeable playlist copy, no old patterns, recycled sound images, gestures, flows. He doesn't have to address a young audience in an uptight or embarrassing way, because he and his friends are the young audience. His language is Kanak and yet accurate, skilful, confident. As brutal as his deep voice. In his lyrics, he eats köfte, hates cops and accuses Almanya. Kes, don't bother, the youth has caught on to the lies.
The inspiration Arda draws from artists like Kendrick Lamar is the much-vaunted total package: deep musicality, connection to the community, lyrical complexity and production, and making storytelling look easy while making art that empowers the oppressed and attacks oppressive structures. He has also imbibed funky social critique and skillful lyricism with the music of artists like Outkast, The Roots, Slowthai, Noname and Earl Sweatshirt. Does he want to empower young kanak and kanakised people along the way? Safe. First and foremost, he wants to make realities and conditions tangible, to be uncomfortable, to turn the status quo to the left musically and socially.
Anger is the backbone and productive artistic force that runs through the music. Because of Hanau, because of the progroms of the 90s, because of the constant exploitation that even their own family, as guest workers, could not escape. About laws that despise people and guarantee profits. Apsilon, on the other hand, makes musical gestures that bang from the loudspeaker truck, but also in the rental car with the homies. Away with the expectation of "the good Germans", the model foreigners who don't rebel. Instead, he also wants to provoke and polarise. Apsilon does not make melancholic or resigned music, but crafts potential catalysts so that other people discover their own resistant spark within themselves.