In episode three of Clandestino Podcast, we meet guitarist and singer Lula Pena. Her music has been praised by the likes of Caetano Veloso, while others describe her voice as a female version of Leonard Cohen or Tom Waits. Traces of French chanson, bossa nova and Greek traditional music can be heard in Lula Pena’s songs, blending with the music she once became known for: the Portuguese fado, songs of loss and longing, once sung by sailors far away on the outskirts of the Portuguese Empire. Markus Görsch interviewed Lula Pena just before her concert arranged by Clandestino Festival at Folkteatern in Gothenburg, Sweden.
In the first episode ever of the Clandestino Podcast, we meet musician Sara Parkman, who talks about her work as co-curator for this year’s edition of Clandestino Festival. Sara gives us a brief introduction to the artists she selected for Hagakyrkan on June 7, when Clandestino arranges a “musical novella”, instead of the regular festival program. She also talks about her own experiences this spring, characterized by quarantine and canceled concerts. This podcast is in Swedish.
Musik i avsnittet
Sara Parkman: Ing-Maries vals
Ebo Krdum & Genuine Mezziga: Back in the Days
Shida Shahabi: Futō
Maria W Horn: Epistasis
Sara Parkman: Vreden
(KG = Karl Gustav) is Doctor of Theology from Lund University and author of several books in pastoral theology (all in Swedish). In the 1970th he served for three years in South East Asia situated as Professor in Pastoral Theology at Trinity Theological College in Singapore. He was principal for the Pastoral Institute in Lund, Sweden, from 1978 to 1987 when he was appointed Dean of the Cathedral in Lund. In 1992 he became Bishop in the Diocese in Lund and in 1997 he was elected as Archbishop of the Church of Sweden. In 2006 he resigned from the position as Archbishop and became Visiting Professor in Theology at the Centre for Theology and Religious Studies at Lund University.
As Archbishop Emeritus he has been and still is very active in Peace Work and questions in all possible ways Arms Production and Arms Trade. He has a deep interest in Dag Hammarskjöld, his mystical holistic attitude towards life – as developed in his Markings – and also, increasingly, in his personal destiny and martyrdom.
KG Hammar was born in 1943 and now lives in Lund.
Born and raised in Darfur but currently living in Sweden, Ebo Krdum taught himself to play his own homemade guitar when he was 13.
He’s a singer & songwriter, an actor and an activist. His songs deal with social and political issues affecting his homeland Sudan, in a variety of rhythmic and melodic forms of African-Bluez, Afro-soul and Afrobeat. Listeners can sense in the music the unity and diversity of his motherland Sudan and of Africa as a whole. His deep, pure and natural voice, combined with his unique guitar technique, takes audiences on a journey of peace, justice, resistance, revolution, freedom and love.Singing primarily in African languages—but even in English, Arabic and French—Ebo Krdum’s musical style is inspired by the likes of Ali Farka Touré, Mariam Amou, Bubacar Traoré, Sayon Camara, Adam Abu Tweela, and Oumou Sangaré. In 2017, Ebo put together his band Genuine Mezziga, based in Stockholm. Featuring both Swedish and African musicians, they released their first album Salam in 2019, which has been nominated at the 2020 Swedish Folk & Världsmusikgalan. He has already won our praise.
The band’s intention was to make heavily groovy Electronic Body Music in the spirit of D.A.F., but something went awry. Sure, they’ve got the primitive synth sounds and hard marching drums. But at the same time, the music of Gothenburg based trio Vanligt Folk is so far out weird that it reaches far beyond nostalgia for black-clad fans of 80’s synth. Influences from dancehall and dub mix with punky chaos and a drummer playing frantically with both shoes and head instead of sticks on occasion. Themes such as nationalism, racism and the significance of the hambo dance for the Swedish working class of the 20th century can be found in lyrics as bizarre as they are brilliant – like a fever-induced nightmare in a Roy Andersson film. This spring, Vanligt Folk release the new album Allt E’nte, a record that the group sees as a response to the demand for politicization of musical expression: “We’re hoping that Allt E’nte is as out of date in 200 years as it is today”.