She grew up in Munich, but Bao-Tran Tran (aka mobilegirl) recently relocated her headquarters to Berlin, where she has established herself as a dj focusing on danceable polyrhythmics as well as fat four-on-the-floor kickdrums. Meanwhile, she’s also performed live on both sides of the Atlantic as well as in Japan with her own music, which might be described as R&B infused techno sounds meet Last Ninja on grandfather’s old Commodore 64. But let’s not forget her glittering string sounds, puffy synth melodies and the furious drums on her hit track “Forever”… and more. mobilegirl’s debut EP Poise was released on Staycore after she made a much acclaimed remix on for Dinamarca, one of the founders of the Stockholm label/collective.
JUNE 7–10 2018
The hardest working Afrobeat star on the planet also happens to be Nigeria’s most revolutionary band leader. Fela Kuti’s son, Seun Kuti, grew up in the legendary Shrine, which serves today as a commune, recording studio and concert venue. Following his father’s death, Seun stepped into his role as lead singer for Egypt 80 at the tender age of fourteen.
To this day, Seun plays with several of the band’s original members who, like Fela, were imprisoned for their regime-critical music in the 70’s – and to this day Nigeria’s prime minister remains in power. Through his music, Seun Kuti urges Africans to rise up against what he calls the real new governments: multinational super corporations, gobbling up natural resources while corrupt politicians stuff their pockets full of aid money. Seun is faithful to Fela’s political struggle, but also to his ideas of afrobeat as a means to achieve collective ecstasy through massive rhythms and funky guitars that drive the party into the wee hours of dawn. On his new album Black Times saxophone riffs mingle with Carlos Santana’s serpentine guitar. Time to gear up for what will likely be among the most unforgettable concerts of the year.
CLUB CLANDESTINO | MAY 26 | OCEANEN
In the seventies, Hailu Mergia played with Walias Band, along with Ethio-jazz father Mulatu Astatke. The political climate soon got more difficult to deal with in Ethiopia and when Walias Band toured the US in the early eighties, part of the group decided to stay and seek their fortune as musicians in Washington DC. Hailu Mergia started working as a taxi driver while he continued to write and play music on his own. Amhara, Tigrinya and Oromo melodies floated lightly over his futuristic rhythmic landscapes. A drum machine, an electric piano and a Yamaha DX7 were his tools, along with the accordion – an instrument which constituted a kind of emotional direct connection with the ancient Ethiopian music for him.
“Hailu Mergia and his Classical Instrument” became the name of one of many cassettes recorded in his home. A jazzy collection of instrumental songs and at the same time a musical report from the other side of the Atlantic, but it could just as well be from a desolate star far away in outer space. Hailu Mergia’s music spread among the Ethiopian minority in the US, while its composer continued to drive taxis in the capital. Not until 2013 did “Hailu Mergia and his Classical Instrument reach a wider audience when the label Awesome Tapes From Africa re-released the album. He started touring again and played at the Clandestino Festival in Göteborg (2013) and Bottna (2014). In February, the album Lala Belu is released – the first new album from Hailu Mergia in over fifteen years! For this show at Club Clandestino, he is in stellar company by Ethiopian bassist Alemseged Kebede and Trinidadian drummer Kenneth “Ken” Joseph from the legendary roots rockers Culture.
Mariam Wallentin and Andreas Werliin met when they both studied music in Gothenburg, Sweden. After trying their luck as street musicians in Germany, an idea began to form about a kind of music that would be created in an experimental mode, exploring various types of expressions created using voice and drumming (almost exclusively).
After their debut Heartcore, 2007, the duo received the award Jazz of the Year and soon released the sequel, The Snake. In 2010, they traveled to Reykjavik to record the album Rivers with an Icelandic chamber marker. Around the same time, Wildbirds & Peacedrums performed at the Polar Prize ceremony: backed by a large orchestra, they interpreted Björk’s Human Behavior. From the duo’s impressive tour history, it is worth to mention a collaboration with members of Deerhoof, Skeletons, Kasai Allstars and Konono No 1 in the super tour Congotronics vs Rockers. The fourth album Rhythm (2014) was a return to the sparse format, which has always been the essence of Wildbirds & Peacedrums: Werliin’s powerful beats meet Wallentin’s bluesy voice in a music that constructs new spaces for our imagination to dance in.
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