Clandestino 20th anniversary 2022

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20 anniversary 2022 th

A double anniversary When opening this program and flicking through its riotous line-up of amazing artists, it can be apposite to remind oneself of how it all started, and why it has continued. What began as an action against a Swedish case of wrongful refugee deportation (Peter Ekwiri was repatriated to Ghana despite being Ugandan) has since become a vibrant festival tradition where the reinvigoration of a stagnant music scene is in focus. It goes without saying that artists who have performed at Clandestino Festival over the past two decades have often been unknown, operating in secrecy, far beyond the commercial mainstream which is supported by a cultural industry that—with few exceptions—is running on empty.

Through a diversity of genres and a cosmopolitan perspective—which cannot be controlled by territorial boundaries or other non-artistic exclusionary mechanisms—a new world of music opens up where the artists build their own profiles in an unmuddled meeting with a live audience.

This year we proudly present about fifty acts from almost as many different places in the world, and who all, in their own peculiar ways, push the boundaries of perhaps dormant or flailing traditions. 2022 is also a double anniversary.

On the one hand, the 20th edition of Clandestino Festival takes place in Gothenburg, and on the other hand, we revive our outpost at the rural idyll of Bottnafjorden for the 10th time (yes, a comeback after a hiatus of more than five years!). Furthermore, the anniversary is also sprinkled with a number of other concert evenings in Gothenburg, Stockholm and Malmö, at some of Sweden’s most adventurous venues.

Clandestino Festival has been active over two decades of conflicts and crises that still shake our world. These can not be summarised here, and nor can the progressive steps and little joys that characterise the last twenty years. Suffice it to say that no matter what spectrum of conflicts that haunts the world, we will continue to do our utmost to direct the spotlight towards the unknown, the unexplored, and the repressed treasures of artistry. A critically inclusive, global culture production that lives a complacent life untouched by crises is as unthinkable as a life in a democracy without cultural renewal.

So even though we look back at our history by inviting a few of the acts that have left unforgettable traces in our collective memory, most of the artists who visit the festival this year are completely new, even to us, and many of them have in fact never performed in Sweden or even Europe before.

What does it mean to be Clandestino today? What did that mean twenty years ago when we started? What will it mean in the future? The only thing we know for certain is that what is contained here is only a fragment of a world of treasures waiting to be discovered.

20 Clandestino festival 9–12 june 2022 th

Kokoko!

Kinshasa party machine THURSDAY 9 JUNE SKEPPET GBG

When Kokoko! blew up the dance floor during their concert at Clandestino Festival 2017, they had not even released a single. Since then, they have toured the globe, made a breakthrough gig at South by Southwest and signed with British label Transgressive. Kokoko! is a collaboration between musicians from Congo Kinshasa and French electronic groove maestro Débruit. ­During his first visit to the megacity of Kinshasa, he was overwhelmed.

Electric power kept failing all over the city, but music was still heard on every street corner. The majority of musicians could not afford instruments but made use of whatever was at hand.

When Débruit met members of Kokoko! and heard their complex techno jams on a xylophone made of plastic containers, accompanied by typewriter drums, he was blown away. It was the start of a collaboration where K ­ inshasa’s street sounds merge with the electronic ­playfulness loved by Débruit’s fans. The result could be heard on the debut album Fongola (2019), a f­ uturistic party record beyond traditions and clichés about African music. Back with a ­vengeance, Kokoko! have a new single out entitled Donne moi, which can be seen as a commentary on the continuing plundering of Congo’s natural resources.

Hailu Mergia The ethio-jazz legend THURSDAY 9 JUNE SKEPPET GBG In the 1970s he had the dance floors of Addis Abeba at a boiling point. Back then Hailu Mergia was the bandleader for Walias Band, flagship of Ethiopian jazz, and played with among others the vibraphone virtuoso Mulatu Astatke. But after the overthrow of Haile Selassie and his government, stronger and stronger restrictions were visited upon the cultural life of Ethiopia. And so, during an American tour with Walias Band, Hailu ­Mergia decided to remain in the States and seek his ­fortune as a musician in Washington DC instead.

He worked a day job as a taxi driver while ­continuing to write and play music, now completely on his own. A drum machine, an electric piano and a Yamaha DX7 were the tools of his trade, together with the accordion, which now became an emotional throughline to the music of Ethiopia. When his cassette tape His ­Classical Instrument was re-released by Awesome Tapes From Africa in 2013, it found unexpected ­success, and a new chapter in Hailu Mergia’s career began.

Since then he has released two albums of new material – the latest one being Yene ­Mircha from 2020 – and played hundreds of gigs for new as well as old fans. This legend has already visited Clandestino Festival twice, in 2013 and 2015, and now it is finally happening again: Hailu Mergia, this time together with America’s leading Ethiojazz bass player Alem Kebede, and the equilibrist drummer Ken Joseph of Culture.

Yama Warashi Melodies of the Mountain spirit THURSDAY 9 JUNE SKEPPET GBG

Yoshini Shigihara is a Japanese vocalist and multi-­ instrumentalist who was previously involved with Bristol’s psychedelic music collective Zun Zun Egui. After they broke up she launched the project Yama Warashi. The band name means “small spirit of the mountains”, and there is indeed something fairytale-like about this group’s playful compositions and theatrical stage costumes.

With inspiration from Japanese folk dance, free jazz and psychedelia they create music that leaps from sensuous melodies to wild improvisation.

Yama Warashi is a project set in constant motion, and to make sure they wouldn’t stop still for even a minute Yoshini Shigihara moved to London in 2019, looking for new inspiration and new band members. She found it in the scene around Total Refreshment Centre, where she became artist-­ in-residence. The latest single Dividual Individual offers a taste from this new phase of the band: here, a shimmering, pretty soundscape is provocatively contrasted with lyrics describing shocking scenes from the meat industry.

Hassan Wargui Amazigh banjo FRIDAY 10 JUNE GÖTEBORGS STADSTEATER

Edrix Puzzle Stellar jazz grooves FRIDAY 10 JUNE GÖTEBORGS STADSTEATER Edrix Puzzle is a relatively new constellation on the starchart of the London jazz firmament.

This trio of professional improvisers is led by the drummer/producer Nathan “Tugg” Curran, famous for the grooves he lays down behind the drum set of Basement Jaxx, as well as in the projects Gorgon City and Planet Battagon.

His playing in Edrix Puzzle veers towards rolling funk figures, which might have swirled down in the maelstrom of dark currents flowing from Martin Slattery’s woodwinds, if it weren’t for the dynamic double bass lines of Tom Mason, providing a secure anchoring. The Portuguese percussionist Oli Savill sits in, adding a battery of beats from mysterious sources, that together with some warped tape echos make for an alien setting on Edrix Puzzle’s first EP: Rise to Eris.

Funk, jazz, dub – who cares about categories; all we know is that these three tracks build up the appetite for a full length debut, rumoured to be forthcoming on the label On the Corner this summer.

Morocco’s infatuation with the banjo began in earnest in the 1970s. It was then that groups such as Nass El Ghiwane introduced this instrument to a broader Moroccan audience. A decade later H ­ assan Wargui was growing up in an i­solated v ­ illage in the south-western parts of the Atlas Mountains – a region where the songs and rhythms of the amazigh culture were ­omnipresent. He built his first instruments by hand and learned to play by imitating his idols.

Several years later, after having moved to ­Casa­blanca, Hassan bought his first proper banjo.

Since then he has played with bands like Imanaren and Etran Tiznit, and also collaborated with the

­ merican producer Jace Clayton (DJ/Rupture).

A Unlike many other musicians in his tradition, Hassan Wargui has always been writing songs of his own, inspired by the tunes and landscapes of the Atlas region, but also introducing electronic elements.

His album Tiddukla existed on YouTube for years before finally getting a physical release this spring. With intensity and warmth Hassan Wargui and his band build on the heritage from the classic amazigh groups, while paying tribute to those who dared to sing in tachelhit during the times when it was still a forbidden language. It is with joy and pride we present this concert as part of Hassan’s first European tour.

Dina ögon Dreamfunk in Swedish FRIDAY 10 JUNE GÖTEBORGS STADSTEATER

There is something about the open spaces in the music produced by Dina Ögon. It is where you can slip through the soft wisps of ­Christopher ­Cantillo’s drumming and the staccato bass lines of Love Örsan, to sink into the dreamscape made up of Anna Ahnlund’s voice. Her lyrics are conversational and intimate, speaking of desires, or fears, or wanting to start all over from scratch. She has previously released two solo records under her own name: Omnejd and Lackmuspapper.

Serpentine guitar and piano lines come ­courtesy of Daniel Ögren, who has a solid CV

of his own, including solo projects, as well as ­backing artists like Sven Wunder, Daniel ­Johnston and Anna von Hausswolff. Together with his bandmates in Dina Ögon he creates something like an airy funk sound with 70s psychedelic vibes – imagine Fleetwood Mac, ­Khruangbin and Ted Gärdestad jamming to­­ gether in Motown Studios.

Their debut album is eponymous and re-­ leased on Sing a Song Fighter: a label run by Karl Jonas Winqvist of First Floor Power and f­ ellow ­Clandestino act Wau Wau Collectif.

Los Pirañas Psychedelic surf-cumbia FRIDAY 10 JUNE GÖTEBORGS STADSTEATER The time is the 1990s, the place: jazz clubs in Bogotá, Colombia. Three guys find each other and go on to form numerous bands and projects together.

They growing tired of their Ornette Coleman-­ collections and instead start digging through the crates of Latin American music – ­cumbia, champeta, lambada, and other local styles. Los Pirañas is born out of this exploration and while they begin gigging as dinner ­entertainment at local r­ estaurants, their sound is too untamed and original to remain as background music. Soon this psychedelic dance-trio was touring the world and to date they have released four albums.

The signature guitar style of Eblis Alvarezfeverish and effect-laden – is as characteristic of Los Pirañas as it is in his other band Meridian Brothers. Drawing on 60s Peruvian surf-­cumbia he adds a glitchy contemporary twist to his ­noodling by way of his many pedals and boxes.

In the rhythm section Pedro Ojeda seems engaged in a never-subsiding drum solo, inspired by the raw sound of cumbia from the 50s and 60s. He is playing on a drum set where the tom toms have been exchanged for timbales and cow bells. Meanwhile, the bass playing of Mario Galeano anchors the madness with fast, but steady and unshowy lines. Together they play in almost ­telepathic unison, where their mostly improvised instrumentals might shift tempo and intensity at any time, without warning.

Guedra Guedra Fire and cicadas FRIDAY 10 JUNE NEFERTITI

Guedra Guedra makes dance music based on powerful rhythms and field recordings of both ­­traditional tunes and natural sounds. His real name is Abdellah M. Hassak, he comes from ­Casablanca and already has a long list of music projects on his CV. In Guedra Guedra, he explores the nomadic tribal cultures of North and West Africa, tracing the tracks from thousands of years of migration to crossroads of traditions where the continent’s music blossomed. The sounds that form the

backbone of the debut album Vexillology come from a library of field recordings he built up while travelling in the region. Choirs, flutes, string instruments; the sound of fire and cicadas; a riff consisting of looped bird sounds; hands clapping and feet stomping – the connection between the human body and our sense of rhythm is a r­ ecurring theme on the album. By adding juicy slabs of synths and complex beats, Guedra ­Guedra binds all the fragments together and ­creates an eco­ system of sounds for the dancefloor.

Chúpame el dedo Don’t mess with Satan FRIDAY 10 JUNE NEFERTITI

Can you combine cumbia and grindcore? Bolero and metal? Sure, if you place a human octopus like Pedro Ojeda behind the drums and add a demonic keyboard player in the form of Eblis ­Alvarez of Meridian Brothers. Decked out in y ­ellow and red robes they will detonate a deranged, partly improvised, discharge on stage, in which everything appears distorted, dislodged and wildly m ­ odulated – like a Disney Time in hell.

“Chúpame el dedo” means “suck my fi ­ nger” and the lyrics of this Colombian super-duo remain on that level of poetic ambition. The project was launched as Alvarez – an old fan of

Yama

Coco Em Community-based amapiano FRIDAY 10 JUNE NEFERTITI From Nairobi we welcome Emma Nzioka, more famous as Coco Em – DJ, producer and video artist. Positioned behind the record players she has made a name for herself as one of the hardest working disc jockeys in Africa. Her eclectic sets assemble Afro House, kuduro, kwaito, ­lingala and modern dance to electrify dance floors throughout Africa, Europe and North America.

Coco Em often works in community-based film and music projects focusing on women and trans rights. She is also one part of Sim Sima, a female DJ collective putting out a show on World Wide FM with Coco Em as resident record selector.

At the beginning of this year she released a new single: Land (Black) First – a congas-­ spattered dub track about colonialism and land grabbing. It works as a teaser for the seven track EP Kilumi, due to drop in April on the label InFiné.

bands like Venom and Massacre – was asked to concoct a death metal band with Latin American flourishes for a German festival on the theme “evil music”. Back in Bogotá’s underground it’s common practice to play in as many constellations as possible, and so the duo kept Chúpame El Dedo going, alongside their other bands (including Los Pirañas, also playing at this year’s festival). On their second album No Te Metas Con Satan, they turn the pitch up even higher, gleefully deconstructing clichés of both metal and Colombian folk, while inviting Lucifer to the dance floor.

Naoko Sakata Improvisation of dancing spirits SATURDAY 11 JUNE SKEPPET GBG

Oumou Sangaré Wassoulou feminism SATURDAY 11 JUNE PUSTERVIK

With a mother giving piano lessons at their home, music appeared as natural as spoken l­anguage for the young Naoko Sakata. She couldn’t get her head around notation though, so instead she learned piano by memorising and copying her mother’s students – as well as different TV signatures – by ear. After an intense 2Pac phase during her teens, she discovered jazz, but was as soon disenchanted with it, as she learned about all the rules and theory hiding behind the free-sounding music. Things, however, started to fall into place when Naoko Sakata left Japan for Gothenburg to study improvisation. Finally

her intuition and emotions were given free range to steer the music.

Listening to Sakata’s music is like entering a world without boundaries: a soft sensual breeze might grow into an atonal tempest within a s­ ingle five-minute track. Her most recent album D ­ ancing Spirits consists of seven improvisations, recorded in Annedalskyrkan in Gothenburg and released on Pomperipossa Records, the label created by Anna von Hausswolff. Even if you’ve heard Naoko Sakata before, we dare promise a new and different experience at Clandestino.

One of Mali’s biggest stars of recent decades, Grammy-awarded Oumou Sangaré is known for having repeatedly reinvented wassalou, a genre with ancient roots in the country’s southwestern parts. It is a style of music loaded with story­telling and messages, often performed by female artists. In Oumou Sangaré’s renditions the ­content often revolves around women’s rights and a critique of polygamy and forced marriages.

It was none other than Ali Farka Touré who ­performed the role as talent scout when she signed her first record contract. Soon after, the young singer and composer found herself on a

s­ eemingly endless tour of Europe, Asia and Africa.

She has since then collaborated and recorded with esteemed names such as Herbie Hancock, K ­ onono No 1 and Beyoncé, while parallel to her music career she has also founded a hotel, launched her own car model and worked for the UN. In 2022 the voice of Oumou Sangaré is richer and deeper than ever. On the freshly released album Timbuktu she flirts with American blues and folk, while remaining true to the evergreen heritage of Mali music. But it’s been a long time since Oumou Sangaré could be pigeonholed; she is a whole genre to herself.

D.WattsRiot A.k.a KingLMan SATURDAY 11 JUNE PUSTERVIK

Alabaster Deplume Disarm you with a smile SATURDAY 11 JUNE PUSTERVIK

Without fear there can be no courage. And ­courage, why, that’s the driving force behind the creative efforts of Alabaster dePlume – a musician who delves head first into what frightens him, time and again. This might sound like cheesy self help clichés, but that sort of naïvete is exactly his MO: the goal is to disarm the listener and open a space for empathy. Alabaster’s real name is Angus Fairbairn and he used to be active within different noise music ­constellations in ­Manchester before he took on the saxophone, moved to London and became part of the c ­ apital’s burgeoning jazz scene. His music breaks free from formulas and formalism, heading for the same cosmos that Beverly Glenn Copeland and Alice Coltrane have explored, albeit in his case with a dose of English dry humour.

Many of his compositions are poems set to music, superficially childish, but given weight by his voice to impress on the listener the important and true mission to “Be Nice To People”.

In 2020 he released the album To Cy & Lee: eleven instrumentals centered on his airy tenor saxophone. The record was inspired by his work with mental health patients and became a surprising hit.

On the upcoming release Gold, dePlume sets out once more into the unknown, collaborating with new constellations of musicians for almost every track. Alabaster dePlume’s concert at Clandestino 2022 is presented together with Textival.

In an explosion of energy the DJ and vocalist from Fun-Da-Mental takes to the mixer deck: ritual incantations, bass-heavy electronica and traditional music from everywhere and nowhere pour out. An orgy of genres sets the dance floor ablaze while spoken word, comedy, marketplace recordings, Algerian radio broadcasts and street musicians from Jaipur are interwoven into the eclectic mixes of D.WattsRiot.

As a teenager he left London for Canada, where he discovered soul, funk and early hip hop.

Having returned to England he found work in the

record industry while joining Fun-Da-Mental, whose records he adorned with his vast archive of sound fragments, collected from movies, radio, phone calls, etc.

Today Watts lives in Tenerife, where he is the co-curator of the genre-transcending music ­festival Keroxen. He has also released a debut solo album under his other alias KingLMan. D.WattsRiot has contributed to many p ­ revious editions of Clandestino Festival since the very beginning, both as co-­curator and as DJ. We are delighted to welcome him back!

Lova Lova Pharaoh of funk SATURDAY 11 JUNE PUSTERVIK

Who is he – Wilfried Luzele, the man in ­crimson tunic and tin can goggles? This odd apparition out of Kinshasa’s underground scene comes from a difficult background. After having lost both his parents at an early age he was brought up by relatives. His first tangling with music came as a choirboy at the local church, where he had a hard time conforming – tending to break out in rap rather than singing hymnal h ­ armonies.

To escape his harsh circumstances, Wilfried began inventing aliases for himself: Sorcier d’Art; Double-­King; a fashionista in the C ­ ongolese sapeur-style. But by the time he released the

EP Mutu Wa Ngozi the afro-futurist magician/ pharaoh Lova Lova was born, in full red regalia.

With lyrics in Lingala, Kikongo and French, he paints humourous visions of life in the megacity Kinshasa, as well as the parallel universes he sees through his steampunk spectacles.

In 2022 Lova Lova is putting the final touches to his third album. Where formerly he would tell his tales over electronic beats, he is now backed by a live trio of a drummer and no less than two funky bassists. Hip hop, soukous and a touch of Caribbean backbeat are welded together into a cosmic thunderbolt.

Aunty Rayzor Lagos’ baddest SATURDAY 11 JUNE PUSTERVIK This Nigerian MC is as explicit and unafraid as they come. Aunty Rayzor, aka Bisola O ­ lugbenga, has already at a young age made a name for h ­ erself as one of the hottest names in West ­African hip hop.

She had an underground hit with Kuku Corona, a defiant burst of joy that captured the pent up spirit of the times after lockdown and frustration.

The track that propelled her on after that was called Momo – slang for a bad-­mouthing guy – a raunchy kuduru feast ­produced by 4DOZO from Limbololo Sound System.

At the time of writing Aunty Rayzor is putting the final touches to her debut album Lagos ­Virtual Reality. For this she has traded the chaos of the Nigerian metropolis for the somewhat more laid back surroundings of the label Nyege Nyege in Kampala. Superstars like D ­ ebmaster, Rey ­Sapienz and Cris Fontedofunk are all ­featured on this eagerly anticipated full length release.

Gordan Balkan minimalism SATURDAY 11 JUNE PUSTERVIK

Ancient folk music from the Balkans meets minimalist electro-jazz in the compositions of this Berlin-based power trio. The album Down in the Meadow was created during lockdown.

Trapped in the studio, the three musicians went deep into experimental mode. Due to the pandemic, they had been forced to clear their otherwise full calendars. Svetlana ­Spajic is the group’s expressive singer, known not least for her collaborations with Stella ­Chiweshe, Marina Abramovic and Antony and the Johnsons, just

to name a few. For years she has visited villages in Serbia and the rest of the Balkans, studying unique singing ­traditions and vocal techniques, music that has only been passed on orally.

She is backed by Guido Möbius, producer, composer and multi-­ ­ instrumentalist who ­creates d ­ rone-like ­electronic sounds, loops and plays an o ­ ccasionally bowed electric bass.

The group is completed by Andi Stecher, a jazzy minimalist on the drum set and g ­ littering metal objects.

Ecko Bazz & Chrisman Kampala conscious grime SATURDAY 11 JUNE PUSTERVIK

Tarta Relena Progressive Gregorian SUNDAY 12 JUNE OCEANEN

We are looking at the ruins of what might have been a grand villa. Stretched out among rubble and broken furniture lies a black-clad man in a beret. He growls and retches breathlessly. It is like a war scene, seconds after obliteration.

But instead of machine guns and bombs we can hear a distorted Roland 808 blazing out singeli rhythms and trapbeats, while synths are firing laser beams across the ravished landscape. This is the music video for Mmaso, the first single from Ecko Bazz’s new album.

This Ugandan rapper deals in grime, dancehall and American hip hop, but brings it all back

to Africa. With the emotional dial turned up to eleven he reports from his country’s slums: ­violence, religion and drug use are recurring themes in his lyrics, which he spits in Luganda.

On the forthcoming album (already named one of the year’s most important by both The G ­ uardian and The Fader, prior to its release) Ecko Bazz has joined forces with a dream team of ­producers, including Debmaster, Slikback, DJ Die Soon and DJ Scotch Rolex. At Clandestino Festival he ­performs together with Chrisman, a Congolese producer specialising in heavy beats at the crossroads between hip hop, kuduro and tarraxinha.

In 2016, childhood friends Marta Torrella and Helena Ros set out to explore mysticism and timeless existential questions through the medium of a cappella music. They named the project Tarta Relena, and their self-invented genre, “­ progressive Gregorian”. But Gregorian chants are far from their only influence: their latest album Fiat Lux (= “let there be light”) is a veritable odyssey through centuries of choral expressions. Their harmonies are complex but Spartan, at times so minimalist as to make their very b ­ reathing a foundational

part of the music. Backed by ­ominous beats and singing cicadas they give voice to F ­ ederico ­Garcia Lorca in the song Las ­Alamedas, but the lion share of the album is dedicated to female poets and composers. Tarta Relena tackle everything from Sephardic songs to tales from Afghanistan, while the track Safo is named after the famous archaic poet of Lesbos. At the end of the record, the Greek folk melody Me Yelassan serves as a worthy finale in a cascade of handclaps and intricate rhythms.

Marina Herlop Voice slip between guises SUNDAY 12 JUNE OCEANEN Marina Herlop is a classically trained vocalist and pianist from Barcelona. In her previously released music the traditions of Western art music can be clearly distinguished, but on her upcoming third album she leaves the signposted road and gets deliberately lost in a magical f­ orest of cut-andpaste piano melodies and bird calls. Like an heir to Meredith Monk, she lets her voice slip between guises: humming, whispering, singing…

She has also experimented with composition techniques from South Indian Carnatic music; one of which is konnakol, where chanted syllables are transformed into percussion. What at first listen might sound like lyrics in a cryptic language turn out to be vocal sounds beyond translation; a form of concrete poetry. This could all sound pretentious, but Marina Herlop’s music is also immediate and enjoyable. No stories, no metaphors: just sound allowed to be sound.

Maya Dunietz Plays Emahoy Tsegué-Maryam Guèbrou SUNDAY 12 JUNE SKEPPET GBG

Emahoy Tsegué-Maryam Guèbrou is a pianist, composer, and nun born in 1923. Her music is an airy combination of Western classical with scales and rhythms from Ethiopia.

As a student in Switzerland she heard a Beet­ hoven concerto for the first time. The experience was so intense that she returned home to Addis Abeba with a firm desire to live her life in the service of music. When the chance to study at a conservatory in the United Kingdom was put to a halt by the emperor himself, Haile Selassie, it was as if the doors to her new life had slammed shut.

Emahoy fell into a depression. She was close to starving herself to death before instead withdrawing from the world to a religious convent.

During all of her years as a nun she continued to write delicately magical music without actually having any real audience. Her output would have probably disappeared in time if not for the French record series Éthiopiques, which devoted

its entire 21st edition to the recordings of Emahoy Tsegué-Maryam Guèbrou.

Maya Dunietz—an Israeli pianist, composer, singer, choir conductor, and sound artist (among other things)—heard these recordings and, to her delight, discovered that Emahoy lived mere blocks away from her, in the Ethiopian monastry of Jerusalem. So it was there, in a cell furnished with only piano and bed, that their collaboration began. Maya Dunietz received a huge, unwieldy pile of scores, the result of 70 years of withdrawn composing. She published them and arranged a concert in honour of Emahoy’s 90th birthday, and has since introduced Emahoy’s oeuvre to a large international audience – including a concert at Clandestino Festival 2017. Dunietz describes this enormous treasure as classical music composed with a very special relationship to time, space, and the resounding landscape. Not grandiose, but intimate and profound.

Clandestino x bottnafjorden 29–31 july 2022

Selda Bagcan & Boom Pam Anatolia’s bravest voice FRIDAY 29 JULY KKV BOHUSLÄN

Selda Bağcan was born in 1948 in Muğla, southwestern Turkey. As a university student in Ankara she started to perform on local stages and made contact with Cem Karaca, Barış Manço and other big names in Anatolian folk rock. Her brave social criticism and solidarity with the working class, combined with her powerful voice, soon made her famous as one of Turkey’s foremost protest singers. After a number of singles that supposedly sold in the millions, Selda’s debut album was released in 1976. On it was the song Yaz ­Gazeteci Yaz (= “write, journalist, write”) which was a demand for reporting on the country’s poverty, rather than bootlicking its elite.

After the military coup in 1980 the cultural climate in Turkey got harsher and many from the political end of the music scene left the country.

Selda remained and was repeatedly imprisoned for her lyrics. But if the aim was to silence this loud songbird, the effect became the opposite: now Selda was a name everyone knew.

Four decades later she can be heard singing on stages the world over, as angry and as relevant as ever. In recent years her 70s output has also been re-released. Dr. Dre and Mos Def have sampled Selda, and young artists like Altin Gün have celebrated and covered her – all contributing to her growing international audience, beyond the Turkish diaspora. The precise political content of her lyrics may be partially lost in translation, but her passion always breaks through. Live she is backed by the Israeli quartet Bom Pam, recreating the Anatolian psych rock sound on guitar, keyboards, tuba and drums.

coco maria Rhythms essential FRIDAY 29 JULY KKV BOHUSLÄN It was as an ironic result of leaving her ­hometown in northern Mexico – where music from the USA completely dominated the airwaves – that she became aware of the African roots of Latin American music. Since then she has worked hard to make up for lost years. After having lived in London and Berlin, Ana Lucia, a.k.a. Coco Maria, ended up in Amsterdam. From there she broadcasts her ­morning show Club Coco on Worldwide FM three days a week, playing contemporary Latin American music with clear ties to its traditional roots. She has directed particular attention to the exploratory and playful version of cumbia represented by Colombian groups like ­Romperayo, Frente Cumbiero and Meridian Brothers.

As a DJ she has spun records at festivals like We Out Here and collaborated with among ­others Wax Poetics and Gilles Peterson.

From her base in Amsterdam Coco Maria has also come to discover the music from Indonesia and Suriname, which she has incorporated in her increasingly eclectic musical universe, making the periphery central and rhythms essential.

Ayom Candomblé mythology FRIDAY 29 JULY KKV BOHUSLÄN

This group borrows its name from the god of music in Candomblé mythology. The singer and percussionist Jabu Morales is a student of this Afro-Brazilian religion and the musical riches connected to it. Over a decade ago she left her home in Minas Gerais in the Brazilian interior and moved to Barcelona. There she met two ­Italian musicians: the accordionist Alberto Becucci and the percussionist Timo-

teo G ­ rignani. They ­immediately sensed the musical alchemy they’d be capable of, and soon fleshed out their musical project with yet another p ­ ercussionist – Walter Martins, as well as guitarist Ricardo Quinteria and bassist Fransisco Valente. Together, Ayom weave an intricate fabric of rhythms from forró, samba, cumbia and calypso, which is then embellished with Mediterranean accordion melodies.

Etran de L’aïr Phenomenal desert punk FRIDAY 29 JULY KKV BOHUSLÄN

Haepaary Two-headed medusa SATURDAY 30 JULY BOTNIK STUDIOS The Korean term “haepaary” translates as jelly­ fish, and indeed, this two-headed medusa of a band stretches out its tentacles through both time and space. Part futuristic electronica, part 14th century vocal stylings and percussion from the Joseon dynasty, this project sounds like nothing else.

Choi Hyewon is both the producer and multi-­ instrumentalist of the duo. In addition to synths and programming she also plays samul nori, a set of percussive instruments including gongs and a giant bass drum. The rhythmic patterns of the genre draw from rural harvest celebrations.

Meanwhile, Park Minhee’s singing builds on the tradition of gagok – once a form of music reserved for the ruling class, but nowadays p ­ opular throughout the population and proclaimed a word heritage by UNESCO. The duo’s tradi-modern concoction also includes visual elements, from Korean court dances to 3-D a ­ nimations. Up till now Haepaary have only released a handful of singles and EPs, but the international music press as well as the SXSW festival have already capitulated in face of these virtuosos’ unique combination of cultural ­heritage and transcendental electronics.

With repetitive rhythms and serpentine guitars, desert blues has become a beloved phenomenon across the world. But compared to superstars like Tinariwen and Ali Farka Touré, Etran de L’Aïr come across as a rowdy party gang. According to themselves, this family collective is a “wedding band for people with no money”. In their take on the genre, two, sometimes three, guitarists seem to want to prove their soloing chops simultaneously. The drums clatter along like some mad machine while the vocals threaten to blow both fuses and speakers.

These riotous vibes are well captured on their new album Agadez; recorded live and named after their hometown. There, in the heart of the Aïr region of Niger, the band was formed in 1995. Equipped with a sole acoustic guitar and a calabash upon which they kept rhythm with a sandal, the group would play weddings and other events in their early days. With their earnings they soon acquired electric guitars and drums, and by today there is hardly a single block in that town that hasn’t rocked and reverberated with the desert punk of Etran de L’Aïr.

Groupe RTD Dancing Devils of Djibouti SATURDAY 30 BOTNIK STUDIOS

BCUC Bantu Continua Uhuru Consciousness SATURDAY 30 JULY BOTNIK STUDIOS

Djibouti: a tiny nation on the very tip of the Horn of Africa. For decades, their national music industry has been controlled by the state, and different music groups are run almost like companies by the government. One of these bands is Groupe RTD: the official radio orchestra of the country (RTD stands for “Radiodiffusion-Télévision Djibouti”).

However, after ceremonies and state visits have been orchestrated, this nine-piece transforms into something wholly different. Their leisure time is spent cooking up groovy love songs in the style of Somali funk, topped with local flavouring.

Because of its geographic location on the threshold between continents, Djibouti receives influences from all around the compass. Therefore, the DNA of Groupe RTD carries traces of Bollywood soundtracks, roots reggae, and American saxophone jazz. This can all be heard on the album Dancing Devils of Djibouti, the very first Djiboutian record released internationally on an independent label. That label is Obstinate Records, previously known for having introduced Somali music to Western audiences through the collection Sweet As Broken Dates.

This South-African party machine has ­previously turned on their pressure cooker during the Clandestino Festival in 2019. Now they are ­ finally about to release a new album and thus we get an excuse to invite this seven strong band once more.

BCUC – Bantu Continua Uhuru ­Consciousness – formed in Soweto, just a stone’s throw from the church where Desmond Tutu hid anti-apartheid activists back in the day. Their origin was in a container, turned restaurant, turned rehearsal

space. With funky bass lines, signal whistles, a plethora of drums, as well as singing and rap in Zulu, Sotho and English, they set off a hedonistic dance explosion that seconds as a weapon in the fight for equality. In their own words they provide an ”emo-indigenous Afro psychedelic fire from the hood”. Their compositions are long; often upwards of twenty minutes. With an impressive instinct for dynamics, they let the pressure build and build, to then suddenly hold back… and set off anew in another direction.

Lorena Álvarez & sus Rondadores Místico folkloristico SUNDAY 31 JULY EVJA FOLKETS HUS

Phelimuncasi Next level gqom SATURDAY 30 JULY BOTNIK STUDIOS Calls, moans and vocal fragments play a ­central role in the sound of Phelimuncasi, a sound that is also characterised by hyper-creative beat programming with seemingly endless tom rolls.

The three members Malathon, Makan Nena and Khera began collaborating in Durban ten years ago, during a wave of dark, minimal dance music that came to be known as gqom. Not ones to abide by genre boundaries, Phelimuncasi paired their dancefloor beats with storytelling in the form of isiZulu spoken word – a tradition that stretches back to toyi-toyi; the expressive chant and dance routine associated with anti-­apartheid demonstrations in 1970s South Africa.

Their album 2013–2019 features collaborations with producers like DJ MP3 and Menzi, and is a retrospective of tracks created during a six-year period. That might seem like a long time for scraping together nine tracks, but then, it resulted in one of the densest, most meticulous – why, one of the best – releases on the Ugandan label Nyege Nyege Tapes.

Last time we had the pleasure to introduce Lorena Álvarez was for Clandestino Festival’s 10-year jubilee in 2012. Back then we described her trio as akin to a Spanish Moldy Peaches: a DIY folk band, reclaiming the traditional music of their native region Asturias. But since then Lorena Álvarez has branched out into a unique composer, ­producer and lyricist, impossible to pin down.

She is a musical explorer, on a quest to understand the mysteries of life through sounds and poetry. Her modus operandi is to find cracks and

crevices in contemporary life which the ­traditions of folk music can help fill. The latest EP contains songs in the ronda vein, recorded with a group of amateur musicians from the P ­ yrenees, while on the full length album ­Canciones ­Sencillas from 2019 she melds flamenco and baladas with s­ ubtle folk pop. In 2021 Lorena Álvarez also released the soundtrack to the video game Alba, filled with aural dreamscapes. For the concert at Evja Folkets Hus her band is joined by guest guitarist and singer Víctor Herrero.

clandestino extended 2022 Alai K SATURDAY 9 APRIL OCEANEN

Mabe Fratti 食品まつりa.k.a Foodman Linnea Talp Dj Idealist SATURDAY 16 APRIL SKEPPET GBG

In the electronic underground of East Africa, Alai K was previously known as Disco Vumbi, and for his cassette tape Boutiq Electroniq, released on Nyege Nyege Tapes. But this year he performs reincarnated as himself.

Alai K grew up in Kenya – the youngest in a long line of musicians, from which he derived a deep understanding of ritual dance. A few years ago he moved to Berlin, where he lived in a tiny apartment and installed a studio in his kitchen – having to deconstruct it each time he needed to cook dinner.

He became a regular at the famous rave clubs of

the German capital and fell in love with techno. Its drawn out, repetitive beat mixes struck him as an electronic counterpart to the ritual dance music of his upbringing. Together with Izo Anyanga – another Kenyan emigré – he started an attempt to make these two sonic universes converge.

They recorded long polyrhythmic jams on drums, marimba and xylophone, which they then cut and pasted into a kind of acoustic techno, topped with flutes and sampled chanting. The result can be heard on the album Kila Mara, released by On the Corner, and at Clandestino 2022.

MABE FRATTI Mabe Fratti is an experimental cellist, singer and composer. She grew up in Guatemala, but moved to Mexico City after falling in love with the city’s underground scene. Here she could move away from the classical cello repertoire and deeper into improvisational music. On her two albums, gentle pizzicatto tones can be heard one moment, only to swell into thick blocks of distorted sound, layer upon layer in the next. Mabe Fratti often performs in a trio format which also includes electric guitar and synth – as well as crickets and other sounds from nature. Rich soundscapes grow organically and vibrate under Mabe Fratti’s ethereal vocals.

Pitchfork, NPR and The Wire have all given her glowing reviews, and in The Guardian, her debut Pies Sobre la Tierra was named Global Album of the Month. The sequel Será Que Ahora Podremos Entendernos? examines themes around language and meaning-making.

circling closer to the dance floor. For contrast, he collaborated with Hair Stylistics on Hakimakuri Olympic the same year: a well nigh dystopian record – equally complex rhythmically, but ­veering towards noise rather than video games.

食品まつり A.K.A FOODMAN With Foodman, you’re never absolutely sure when the next beat is gonna drop, or from which instrument. Japanese DJ and producer Takahide Higuchi got a lot of recognition for his album Ez Minzoku, which was named one of the best experimental releases of 2016 by Pitchfork.

The record is an almost manic experience, with cut-up rhythms and naivist singing, where the instruments and the vocals are constantly shapeshifting. A bit like a conversation so brilliant and brimful of ideas that you’re only barely able to follow its twists and turns.

According to Foodman himself, he wrote his first music with the help of a PlayStation game, which does seem to make sense once you delve into his world. Nowadays, he is as productive as he is innovative, and often releases a couple of albums a year.

In 2021, Yasuragi Land dropped, which continues the playful ingenuity of Ez Minzoku, but shifts its focus subtly: from a plethora of different sounds, to the tempos and beats in particular. On Yasuragi Land, the beat patterns are more intricate than ever, but at the same time they’re also

LINNEA TALP Under the pseudonym Deerest, the composer, cellist and organist Linnea Talp creates drone-­ influenced music, but with an underlying pop sensibility – music that has been likened to Anna von Hausswolff and Björk. But in the ­compositions that she is now releasing as a solo ­artist she has purified her music and shed almost everything except the bourdon notes themselves. Here the organ is allowed to take centre stage, with infinitely long chords, gradually developing and blossoming. The other instruments – flutes played by Martin Küchen and trombone by Mats Äleklint – are harmonising so closely to the organ, both in tone and timbre, that they almost can’t be told apart. Even the voice of Mariam Wallentin, when it chimes in, more or less takes on the character of yet another organ pipe.

This music was premiered back in November at the festival Sound of Stockholm, in S:t Clara church, and when it is now performed in Gothenburg we get to hear Linnea Talp take on another room rich in atmosphere, playing the church organ at the venue Skeppet Gbg. THE IDEALIST Electronic dub and out-there techno is the home territory of The Idealist. With records and tapes out on Höga Nord, iDEAL, Meakusma, Industrial Coast, Malmö Inre, to name but a few labels, he has built his own musical world deeply inspired

by Jamaican dub, early Detroit techno and house, as well as late 80s industrial music. The Idealist – a.k.a. Joachim Nordwall – also has a background in experimental music and in bands like The Skull Defekts and FIRE! Orchestra. F ­ urthermore he has been running the iDEAL label and production company since 1998. The Idealist’s DJ sets juxtapose 70s dub and reggae with all kinds of contemporary weirdness.

Moor Mother Arrington de Dionyso Senyawa MONDAY 2 MAY SKOGEN (KOLONI)

Park Jiha TUESDAY 3 MAY GOTHENBURG FILM STUDIOS (VETENSKAPSFESTIVALEN)

MOOR MOTHER Camae Ayewa founded the project Moor Mother in 2012 and since then she has used her noise poetry to invite the listener on a journey through dystopic landscapes, guided by distorted voices, rhythmic glitches and electronic clamour. In her own words she is engaged in a mixture of “blk girl blues”, “project housing bop” and “slaveship punk”.

Her latest album Black Encyclopedia of the Air is a collaboration with Olof Melander, sound artist and producer from Malmö, with large ­dollops of free jazz, hip hop and electronica on his ­palette. Among many contributors on the record, rappers like Pink Siifu and Brother May are worth a mention. Moor Mother has called it her “sellout album”, but everything is relative: the lyrics are still marinated in anxiety, and our society is depicted as a labyrinth without exit. Sure, there are lines about healing and about the sensation of having defeated one or two opponents, but the triumphs are temporary and the threats remain.

In tracks like Clock Fight and Nighthawk of Time, she comes back again and again to questions of temporality: are we keeping time or is time keeping us? She questions accelerating demands of growth and profit, but also the very concept of linear history, and against it posits the need to assume control over our own stories.

started studying ­ethnomusicology. Around the mid-90s he started the band Old Time ­Relijun and released a dozen albums on K Records.

He later extended the ecstatic nerve fibres of his previous group to the ­project ­Malaikat dan Singa, in which he brought together gamelan music and the poetry of William Blake. That group performed at Clandestino Botnik 2012, but about that time Arrington de Dionyso was already searching for new influences in ­Indonesia, where he played together with the experimental duo Senyawa and studied Jathilan – a Javanese horse trance ritual.

In his constant search for new musical meetings he has also played with the Master M ­ usicians of Jajouka in Morocco, with baul-singers in Bangladesh, and with throat singing shamans in Tuva, Siberia; to name but a few.

ARRINGTON DE DIONYSO Arrington de Dionyso is a musician known for cross pollinating ancient traditions with trans­ cendental exploration and rock ‘n’ roll. His main tools are his voice, the bass clarinet and a so-called bromiophone; a contra bass clarinet he constructed by himself out of plastic tubes. His wild improvisations, throat singing and harmonic overtones present him as equal parts shaman and punk rocker.

Arrington de Dionyso grew up in Chicago and as a young man he moved to the northwestern corner of the United States and made his living as a street musician, until he landed in Olympia and

SENYAWA The experimental duo Senyawa is made up of the singer Rully Shabara and the instrumentalist Wukir Suryadi. Shabara’s singing stretches from black metal-influenced growl-techniques to a delicate falsetto. Suryadi builds his own instruments, and plays homemade string instruments made of bamboo, equipped with electric guitar microphones. Sometimes he plays acoustic, and sometimes the sound signals are channelled through a series of effects units. He plucks, grinds and drums on his peculiar instrument and thus creates anything from fragile melodies, to beats and pure noise.

Senyawa comes from the ancient city Jogjakarta in central Java, Indonesia. Their music reflects the traditional musical heritage from Java, filtered through a contemporary approach.

They have collaborated with musicians such as Lisa Nordström and Arrington de Dionyso. Last year saw the release of their seventh album ­Alkisah, a doomsday story that begins in the early stages of civilisation’s collapse and c ­ ontinues via unsuccessful rescue attempts, towards ­complete apocalypse.

Back when Park Jiha toured the world as one half of the duo 숨[suːm] she introduced a growing international audience to traditional Korean music, while at the same time positioning herself among avant garde acts like Jambinai and Black String. As a solo artist she builds on that same foundation, but is progressively moving further and further away from tradition, towards undefined lands. The Korean instruments are still there, but now they help to create something more akin to minimalism than folk. And what might at first listen sound like electronic effects,

turn out to be Park Jiha treating the b ­ amboo flute piri, the zither-like yanggeum and the hypnotic woodwind saenghwang in unorthodox ways, making them sparkle, crackle and contort around their own overtones.

On her third album, Gleam, Park Jiha has as her stated aim ”to capture light with sound”. But neither her conceptual leanings, nor her sound experiments, are left as fait accompli. They are all the time subservient to her strong sense of melody and almost classical harmonies that appear to strive towards equilibrium.

AySay SATURDAY 14 MAY OCEANEN

Nadah El Shazly dj marcelle THURSDAY 7 JULY OCEANEN

TootArd Rizan Said FRIDAY 2 SEPTEMBER OCEANEN

Kurdish and Turkish music merges with Nordic folk melodies in the songs of this young Danish group. AySay’s saz player and singer Luna Ersahin grew up in a Kurdish-Turkish-Danish family, and in her songwriting she mixes her influences freely, both in terms of language and musical composition. As an ensemble, AySay presents the songs in a tight kind of semi-electronic east-west folk jazz. AySay was formed when Luna Ersahin met Aske Døssing Bendixen (drums and percussion)

at a music education in Copenhagen. Eventually, they found a guitarist in Carl West Hosbond, and bassist Jens Mikkel Madsen was added to the group’s live format. Somewhere along the way, Luna Ersahin also managed to live in Sweden for a period and study Swedish folk music – on the group’s debut album Su Akar, sounds from this side of the Öresund can be heard in the form of violin polska as well as kulning – a vocal technique stemming from an ancient herding call.

NADAH EL SHAZLY A crackling sample from the dawn of the 20th century, filtered through modern effects, commences Nadah El Shazly’s debut album Ahwar.

A few tracks later there is a cover of Sayyid Darwish, the artist considered by many to be the father of Egyptian popular music, working at the beginning of the 1900s. It is a cover whose relation to the original can be likened to the relation between a text and the paper it is written on.

Nada El Shazly – who earned her wings in the underground scene of Cairo as both a punk and jazz singer – builds her version from a kalimba, a harp and double bass, and when the instrumentation almost falls apart, it is lashed back together by her voice. And that is how her music works. Even when it carries a clear reference – as to the old Cairo in the opening track, or to bebop in Koala – it remains at its core both timeless and rootless. It is port music; at home anywhere around the east Mediterranean, any time during the last century. Thus Barzakh, named after the

Islamic equivalent to purgatory, might just as well be listened to in a rebetiko taverna in Piraeus as in an Egyptian café. And the club banger P ­ almyra transforms, without seeming to change much at all, to a jazz jam when it is played with a live band. The one thing that remains permanent is the deep powerful voice of Nadah El Shazly.

TOOTARD Rami and Hasan Nakhleh grew up in the Golan heights. Like many others in the Israel­occupied territories they have never owned a passport, instead they are using a document called ­‘Laissez passer’ to be able to travel. ­Laissez ­Passer is also the name of an album they released in 2017, influenced by both desert blues and reggae.

Since then the brothers have shifted the focus of their music, back to the Lebanese and Egyptian electronic disco of the 80s. Hasan Nakhleh nostalgically recalled a simple ­keyboard with oriental scales he used to have in his childhood home. He tracked down a ­second hand ­instrument of the same type and that became the start of their latest album Migrant Birds. It is smooth, sparkling, and filled to the brim with pining melancholy. Most of the tracks are built on funky disco with microtonal synth melodies – sometimes the album feels like a Levantine ­mirror work to Daft Punk’s Random Access ­Memories. But Tootard’s most important ­influences derive from the Egyptian guitarist Omar Khorshid, who, alongside keyboardists like Ihsan Al-Munzer, introduced Western disco and funk to classical Arabic tonalities. As the title Migrant Birds suggests, freedom is a recurring theme: the dream of moving freely across physical borders and walls, but also across those invisible barriers that limit one’s way of being and loving.

RIZAN SAID During the last two decades Rizan Said has ­established himself as an extremely p ­ roductive, genre-hopping songwriter for a long line of ­Syrian artists, while also reaching an international audience, not least through his c ­ ollaborations with Omar Souleyman. His nimble and fast playing has given him the nickname “King of Keyboard” – which is also what he named his first solo album, released in 2015.

It all began in Ras Al Ain, in northeastern Syria. Already as a boy Rizan was proficient on flute, saz and accordion. After much ado he managed to get his hands on a synth and started transposing his accordion skills to the electronic keys. He had his first gigs as a musician at K ­ urdish ­weddings, and soon enough he was releasing cassette tapes, as well as writing scores for ­Syrian TV shows and movies. After having learnt Arabian shaabi, Rizan Said embarked on a long and fruitful partnership with Omar Souleyman, who was already a major star in the region.

In recent years Rizan has lived in Sweden for periods and performed at many of Europe’s leading festivals. In 2019 he dropped Saz Û Dilan, his second solo album, filled with a cavalcade of electronic dabke music played on a keyboard in defiance of all speed limits.

DJ MARCELLE Although DJ Marcelle has been collecting music longer than most of us have been alive, she still feels like The Netherlands’ sweetheart. She’s an artist with a mischievous, rule-bending and almost ironic approach to her DJing, producing and radio hosting – cut with her trademark wit yet supported by an unquestionable amount of skill.

Well known for her three-turntable setup, DJ Marcelle makes compositions out of songs and symphonies out of mixes – colliding disparate genres, appropriated vocal snippets and warped soundscapes into a giant Frankenstein-like ­melting pot.

Gyedu-Blay Ambolley & His Sekondi Band FRIDAY 14 OCTOBER INKONST SATURDAY 15 OCTOBER OCEANEN

Wau Wau Collectif TUESDAY 8 NOVEMBER FOLKTEATERN

Gyedu Blay Ambolley first made a name for himself in the Swinging Accra days of the sixties, as a member of the Uhuru Band together with Ebo ­Taylor. Ghana was celebrating its liberation from the colonial masters and highlife was the soundtrack. For a long time, this West African dance music had been played exclusively on congas and other rhythm instruments, but after the advent of calypso, guitars were introduced and bands competed to create the most intricate melodic layers.

A few years later, highlife was already on the way down, and everyone was looking for a way forward. While others copied James Brown ­uninhibitedly, Gyedu Blay Ambolley was now searching for ways to marry parts of the American sound with Ghana’s own heritage. He formed

the funk-jazz combo Apagya Show Band, again with Ebo Taylor. At the same time, he released the solo effort The Simigwa, which he calls the world’s first rap song. The compilation albums Ghana Soundz 1 & 2 give an ­indication of the importance of Gyedu-Blay Ambolley during that time. In one way or another, he ­participates in almost every other song: as a singer, s­ axophonist, bassist or composer. Today, he is known as a ­living ­afro-funk legend all over the world, and has become a sought-after guest artist in Ghana’s hiplife scene – for example in a remake of The Simigwa with the duo Replay. But at the same time, Gyedu Blay Ambolley remembers his roots.

On his thirty-first album 11th Street, Sekondi, he looks back to the highlife music that shaped him as a young man.

When Karl Jonas Winqvist found himself in the tiny fishing village Toubab Dialaw south of Dakar, he wasn’t able to communicate neither in French nor Wolof. But he did have the language of music, and through it he managed to make friends with some local musicians, setting in motion a collaborative project that continued online after he had returned home to Sweden. Out of this grew Wau Wau Collectif, as well as one of last year’s most thrilling releases. Wau Wau isn’t just a collective by name, the music is an epitome of collective creativity. To listen to their album Yaral Sa Doom is like sitting by the Atlantic coast with the cream of West Africa’s musicians and listening to them jam, find unexpected melodic paths and throw in

ideas which lead to one song after another. The music is characterised by Karl Jonas Winqvist’s searching aesthetic and open ears. One of the finest tracks on the album – Mouhamodou Lo and His Children – came about when Winqvist met a cab driver and family father from Senegal, and it came to light that the man wrote poetry and sang in his spare time.

But for all its spontaneity the record is just as much a result of skilled craftsmanship. In addition to the village musicians, it also features the Senegalese producer Arouna Kane, as well as the swedes Emma Nordenstam – a frequent collaborator of Winqvist’s – and Maria Arnqvist from the experimental folk duo Siri Karlsson.

and disappointments are subjects that voice belongs to Jaakko Laitinen. With pomaded Jaakko Laitinen & Väärä Raha Death this Finnish ensemble creates great enter- hair and a red velvet blazer, he is a complete estraTHURSDAY 10 NOVEMBER FOLKTEATERN

tainment from. However, the main theme of Jaakko Laitinen & Väärä Raha is still love: bitter­sweet, euphoric, or a source of despair. The matter is picked apart and viewed both from a cosmic perspective and from the bottom of a wine bottle.

Trumpet, bouzouki accordion, double bass and drums create a rich mix of Balkan stomp, Finnish humppa and tango. The mighty baritone

dor in the cut of Olavi Virta. Despite the colorful appearance, however, it is impossible to mistake his genuine feeling for the music from Lapland.

Jaakko Laitinen & Väärä Raha (= “fake money”) was founded in 2009 and has since released four acclaimed albums, including Börek from 2020.

Diligent playing in everything from dance halls in the far north to clubs in Helsinki has given them a reputation as Finland’s best live band.

date

venue

program

SATURDAY 9 APRIL

OCEANEN

Alai K

SATURDAY 16 APRIL

SKEPPET GBG

Mabe Fratti | 食品まつり a.k.a Foodman | Linnea Talp | Dj Idealist

FRIDAY 22 APRIL

INKONST (INTONAL FESTIVAL)

Gordan

MONDAY 2 MAY

SKOGEN (KOLONI)

Moor Mother | Arrington de Dionysos | Senyawa

GOTHENBURG FILM STUDIOS

Park Jiha

TUESDAY 3 MAY

(VETENSKAPSFESTIVALEN) FRIDAY 6 MAY

HUMANISTEN, TRAPPSCENEN

Agustín Fernández Mallo in coversation with Lina Wolff – Physics and Writing

(VETENSKAPSFESTIVALEN) SATURDAY 14 MAY

AySay

OCEANEN

20 TH CLANDESTINO FESTIVAL IN GOTHENBURG 9–12 JUNE THURSDAY 9 JUNE

SKEPPET GBG

Yama Warashi | Hailu Mergia | Kokoko!

FRIDAY 10 JUNE

GÖTEBORGS STADSTEATER

Hassan Wargui | Edrix Puzzle | Dina ögon | Los Pirañas

NEFERTITI

Guedra Guedra | Chúpame El Dedo | Coco Em

SKEPPET GBG

Naoko Sakata

PUSTERVIK

Oumou Sangaré | Alabaster DePlume | Gordan | Lova Lova | Ecko Bazz & Chrisman | Aunty Rayzor | D.WattsRiot

OCEANEN

Tarta Relena | Marina Herlop

SKEPPET GBG

Maya Dunietz plays Emahoy Tsegué-Mariam Guèbrou

FRIDAY 10 JUNE

FASCHING

Alabaster DePlume | Lova Lova

SATURDAY 11 JUNE

FASCHING

Maya Dunietz plays Emahoy Tsegué-Mariam Guèbrou

THURSDAY 7 JULY

OCEANEN

Nadah El Shazly | Dj Marcelle

FRIDAY 29 JULY

MALMÖ SOMMARSCEN

Groupe RTD

SATURDAY 11 JUNE

SUNDAY 12 JUNE

CLANDESTINO X BOTTNAFJORDEN 29–31 JULY FRIDAY 29 JULY

KKV BOHUSLÄN

Selda Bağcan & Boom Pam | Coco Maria | Etran de l’Aïr | Ayom

SATURDAY 30 JULY

BOTNIK STUDIOS

Groupe RTD | Haepaary | BCUC | Phelimuncasi

SUNDAY 31 JULY

EVJA FOLKETS HUS

Lorena Alvarez & Sus Rondadores

FRIDAY 2 SEPTEMBER

OCEANEN

TootArd | Rizan Said

FRIDAY 14 OCTOBER

INKONST

Gyedu-Blay Ambolley & His Sekondi Band

SATURDAY 15 OCTOBER

OCEANEN

Gyedu-Blay Ambolley & His Sekondi Band

TUESDAY 8 NOVEMBER

FOLKTEATERN

Wau Wau Collectif

THURSDAY 10 NOVEMBER

FOLKTEATERN

Jaakko Laitinen & Väärä Raha DOWNLOAD DETAILED PROGRAM AT WWW.CLANDESTINOFESTIVAL.ORG

BACKSTAGE Clandestino Festival has been organized by the non-profit ­Clandestino ­Institut since 2003. This event is made possible with support from Västra Götalands­­regionens Kulturnämnd, ­Statens Kultur­råd, ­Göteborgs Stad ­Kulturnämnd. Artistic director: Aleksander Motturi. Production Manager: Katarina Markovic. Graphic design: Milena Karlsson. Editor and text: Markus Görsch & Lars Lovén. Translation: Petter Yxell. Tech coordinator: Danilo Borgerth. Press: Hansi Friberg & Kajsa Olofsson, Ascari PR. Financial administration: Silva Hildbrand, Kjell Aronsson + Anna Hedin, Baker Tilly, EMK. Web: Jesper Lind, Nodestar. Board of trustees, Clandestino Institut: Catharina Bergil, Erling Björgvinsson, Nathalie Bödtker-Lund, Stefan Jonsson, Anja Hellström, José Lagunas Vargas, Mariam Wallentin & Julia Willén. Previous co-curators: Dave Watts, Sara Parkman, Goran Kajfeš, José Gonzáléz, Wildbirds & Peacedrums, El Perro del Mar, Mariam The Believer.

VENUES PUSTERVIK: Järntorgsgatan 12, 413 01 Göteborg. NEFERTITI: Hvitfeldts­ platsen 6, 411 20 Göteborg. GÖTEBORGS STADSTEATER: Götaplatsen 4, 412 56 Göteborg. OCEANEN: Stigbergstorget 8, 414 63 Göteborg.

SKEPPET GBG: Amerikagatan 2, 414 63 Göteborg. FOLKTEATERN: Olof Palmes Plats, 413 04 Göteborg. GOTHENBURG FILM STUDIOS: Polstjärnegatan 19, 417 56 Göteborg. HUMANISTEN: Renströmsgatan 6 412 55 Göteborg. SKOGEN: Masthuggsterrassen 3, 413 18 Göteborg.

FASCHING: Kungsgatan 63, 111 22 Stockholm. MALMÖ SOMMARSCEN: Friisgatan 15B, 214 21 Malmö. INKONST: Bergsgatan 29, 214 22 Malmö.

BOTNIK STUDIOS: Skärholmen Övergård 2: 457 48 Hamburgsund. KKV BOHUSLÄN: Skärholmen, 457 48 Hamburgsund. EVJA FOLKETS HUS: Evja, 455 98 Dingle. GAMLA SVENNEBY KYRKA: Kustvägen, 457 48 Hamburgsund. H22 HELSINGBORG: Oceanenhamnen: Redaregatan, 252 36 Helsingborg. Slottshagen: Stortorget 16, 252 23 Helsingborg Drottninghög, Helsingborg City.

TICKETS Ticket information can be found online at www.clandestinofestival.org.

PHOTO CREDITS Guedra Guedra: Fayssal Zaoui. Los Pirañas: Mateo Rivano.Oumou Sangaré: Holly Whittaker. Alabaster DePlume: Chris Almeida. D.Watts­ Riot: Christian Buehner. Lova Lova: Robert Carrubba. Gordan: Spajic Stecher Moebius. Tarta Relena: Duna Vallès & Clàudia Torrents. Selda Bağcan & Boom Pam: Juri Hiensch. Coco Maria: Kay Nambiar. Etran de L’Air: Abdoulmoumouni Hamid. Haepaary: Hyojin Lee. Groupe RTD: Janto Djassi. Lorena Alvarez & Sus Rondadores: Jesús García. Moor Mother: Bob Sweeney. Nadah El Shazly: Alan Chies. Gyedu-Blay Ambolley & His Sekondi Band: Clarence Aryee.