Sometimes Lisa-Kaindé Díaz will be wandering around her apartment, singing to herself, only to find twin sister Naomi singing exactly the same song, at exactly the same part.
“It is not strange to us for that to happen,” she says. Or at least I think Lisa-Kaindé says it – their tendency to complete each other’s sentences, disagree furiously mid-sentence, or just tumble their thoughts over the top of each other’s makes it hard to untangle exactly who is saying what.
“With music, we just look in each other’s eyes, and we know,” adds Naomi (or at least I think it’s Naomi, etc etc).
The 19-year-old French-Cuban sisters are currently putting their musical sixth sense to good use as Ibeyi, adding an electronic edge to their piano and percussion compositions to produce what they describe as “contemporary negro spirituals”. Much of their inspiration comes from Yorùbá tradition, from the chants brought over to Cuba from Nigeria and Benin on slave ships. These songs have always been an integral part of their lives thanks to their mother, who grew up singing them. Ibeyi’s unique combination of the ancient and modern is no doubt what persuaded XL boss Richard Russell to sign them and produce their self-titled debut album.
The sisters’ story is pretty remarkable. Their father was the famous Cuban percussionist Miguel “Angá” Díaz, a conguero who played with the Buena Vista Social Club, among others, before his death in 2006. Asked what musical lessons he gave them, Lisa-Kaindé gestures a “zero” sign: “He would ask if we wanted to do music and we would say, ‘No, we want to go to the beach!’ So he let us do that.”
The girls credit their Venezuelan mother (who also acts as their manager) for really pushing them and inspiring their love of Yorùbá culture. Yet their father’s influence seems undeniable: the day after he died, Naomi picked up her first instrument – the cajón – and began playing.
“It was an unconscious thing,” she says, reflecting on the synchronicity.
“But I do think there was something spiritual about it,” says Lisa-Kaindé. “It was our father’s new instrument, and one he wanted to be better at. [Naomi] didn’t know about this instrument and yet she started playing it … so there is something there.”
They also remember vividly the only time their father cried – when he found them arguing about the television. He delivered a speech: “You girls have to help each other and not fight – you are sisters, you must find a way to love each other every day.”
The way they eventually found was music – in fact, they say music is the only way they can communicate with each other without ending up in a screaming match.
“Oh, we scream a lot,” laughs Lisa‑Kaindé. “We were screaming just two hours ago!”
The reason they argue is also the reason their music works so well: they have polar opposite personalities. Naomi, the impulsive, energetic party girl, looks after production and percussion, as well as bringing her love of hip-hop, dancehall and electronica to the mix; Lisa-Kiandé, the more studious homebody, listens mainly to old soul and jazz artists, and concentrates on the compositional side. Musical disagreements seem to fuel their best songs, and although there is plenty more screaming during writing and rehearsal sessions, it melts away when they get on stage.
“People say we communicate in a really beautiful way on stage,” says Lisa-Kaindé. “It can be like therapy.”
Like therapy?
“When we have a person that is here with us, we don’t argue,” says Naomi, nodding towards me. “The audience is the same. So being on stage is the therapy, and the audience is like …”
“... the psychoanalyst!” says Lisa-Kaindé. “It’s true! In a way it’s like that.”
“It’s weird though,” laughs Naomi. “We sound weird.”
Behind their laughter is a serious point. The songs on Ibeyi – which is Yorùbán for “twins” – address their late father (Think of You) and also their older sister (Yanira), who died in 2013 from a stroke. Lisa-Kaindé says that whenever they play live, it allows them to re-enact the pain in the songs but emerge with strength.
“That’s why I love songs,” she says. “It’s like living your pain again, but winning. At the end of every song I’m like, ‘I won the war, I won this pain, this is over.’”
Music, it becomes abundantly clear, is not something the sisters deal with lightly. Many of their songs are inspired by – and structured like – prayers, with their use of repetition and lyrics, such as recent single River’s “come to the river, wash my soul”.
Of course, taking music so seriously means making sure the songs are as good as can be, which means more disagreements. And more screaming.
“When she writes the songs, I will listen after and say ‘it’s shit’ or ‘it’s not shit’”, says Naomi.
Lisa-Kaindé nods forlornly: “She is really tough.”
But you appreciate the criticism, right?
Lisa-Kaindé: “No.”
Naomi: “No, but in a way, yes!”
Lisa-Kaindé: “No, sometimes I do not.”
Naomi: “But in a way, you do.”
Lisa-Kaindé: “No! Of course you don’t appreciate when you make a song you are so happy with and someone tells you it’s bullshit.”
“No,” says Naomi, pausing for a second: “But in a way, yes!”
While I’m laughing, Lisa-Kaindé concedes that she wouldn’t want someone telling her everything is wonderful all the time: “I wouldn’t want to make music she doesn’t like. Because in the end, the music sounds like a part of me and a part of her. It will only work if we both like it, because …”
She pauses for a micro-second, so her sister can chime in, with perfect timing: “We complete each other.”
Showing posts with label Electro. Show all posts
Showing posts with label Electro. Show all posts
Sunday, November 2, 2014
The Guardian Interviews Ibeyi
Meet Ibeyi: French-Cuban twins with a musical sixth sense
The daughters of a famous Cuban percussionist, Naomi and Lisa-Kaindé Díaz have won attention transforming their fiery relationship into electro-tinged ‘contemporary negro spirituals’
Sometimes Lisa-Kaindé Díaz will be wandering around her apartment, singing to herself, only to find twin sister Naomi singing exactly the same song, at exactly the same part.
“It is not strange to us for that to happen,” she says. Or at least I think Lisa-Kaindé says it – their tendency to complete each other’s sentences, disagree furiously mid-sentence, or just tumble their thoughts over the top of each other’s makes it hard to untangle exactly who is saying what.
“With music, we just look in each other’s eyes, and we know,” adds Naomi (or at least I think it’s Naomi, etc etc).
The 19-year-old French-Cuban sisters are currently putting their musical sixth sense to good use as Ibeyi, adding an electronic edge to their piano and percussion compositions to produce what they describe as “contemporary negro spirituals”. Much of their inspiration comes from Yorùbá tradition, from the chants brought over to Cuba from Nigeria and Benin on slave ships. These songs have always been an integral part of their lives thanks to their mother, who grew up singing them. Ibeyi’s unique combination of the ancient and modern is no doubt what persuaded XL boss Richard Russell to sign them and produce their self-titled debut album.
The sisters’ story is pretty remarkable. Their father was the famous Cuban percussionist Miguel “Angá” Díaz, a conguero who played with the Buena Vista Social Club, among others, before his death in 2006. Asked what musical lessons he gave them, Lisa-Kaindé gestures a “zero” sign: “He would ask if we wanted to do music and we would say, ‘No, we want to go to the beach!’ So he let us do that.”
The girls credit their Venezuelan mother (who also acts as their manager) for really pushing them and inspiring their love of Yorùbá culture. Yet their father’s influence seems undeniable: the day after he died, Naomi picked up her first instrument – the cajón – and began playing.
“It was an unconscious thing,” she says, reflecting on the synchronicity.
“But I do think there was something spiritual about it,” says Lisa-Kaindé. “It was our father’s new instrument, and one he wanted to be better at. [Naomi] didn’t know about this instrument and yet she started playing it … so there is something there.”
They also remember vividly the only time their father cried – when he found them arguing about the television. He delivered a speech: “You girls have to help each other and not fight – you are sisters, you must find a way to love each other every day.”
The way they eventually found was music – in fact, they say music is the only way they can communicate with each other without ending up in a screaming match.
“Oh, we scream a lot,” laughs Lisa‑Kaindé. “We were screaming just two hours ago!”
The reason they argue is also the reason their music works so well: they have polar opposite personalities. Naomi, the impulsive, energetic party girl, looks after production and percussion, as well as bringing her love of hip-hop, dancehall and electronica to the mix; Lisa-Kiandé, the more studious homebody, listens mainly to old soul and jazz artists, and concentrates on the compositional side. Musical disagreements seem to fuel their best songs, and although there is plenty more screaming during writing and rehearsal sessions, it melts away when they get on stage.
“People say we communicate in a really beautiful way on stage,” says Lisa-Kaindé. “It can be like therapy.”
Like therapy?
“When we have a person that is here with us, we don’t argue,” says Naomi, nodding towards me. “The audience is the same. So being on stage is the therapy, and the audience is like …”
“... the psychoanalyst!” says Lisa-Kaindé. “It’s true! In a way it’s like that.”
“It’s weird though,” laughs Naomi. “We sound weird.”
Behind their laughter is a serious point. The songs on Ibeyi – which is Yorùbán for “twins” – address their late father (Think of You) and also their older sister (Yanira), who died in 2013 from a stroke. Lisa-Kaindé says that whenever they play live, it allows them to re-enact the pain in the songs but emerge with strength.
“That’s why I love songs,” she says. “It’s like living your pain again, but winning. At the end of every song I’m like, ‘I won the war, I won this pain, this is over.’”
Music, it becomes abundantly clear, is not something the sisters deal with lightly. Many of their songs are inspired by – and structured like – prayers, with their use of repetition and lyrics, such as recent single River’s “come to the river, wash my soul”.
Of course, taking music so seriously means making sure the songs are as good as can be, which means more disagreements. And more screaming.
“When she writes the songs, I will listen after and say ‘it’s shit’ or ‘it’s not shit’”, says Naomi.
Lisa-Kaindé nods forlornly: “She is really tough.”
But you appreciate the criticism, right?
Lisa-Kaindé: “No.”
Naomi: “No, but in a way, yes!”
Lisa-Kaindé: “No, sometimes I do not.”
Naomi: “But in a way, you do.”
Lisa-Kaindé: “No! Of course you don’t appreciate when you make a song you are so happy with and someone tells you it’s bullshit.”
“No,” says Naomi, pausing for a second: “But in a way, yes!”
While I’m laughing, Lisa-Kaindé concedes that she wouldn’t want someone telling her everything is wonderful all the time: “I wouldn’t want to make music she doesn’t like. Because in the end, the music sounds like a part of me and a part of her. It will only work if we both like it, because …”
She pauses for a micro-second, so her sister can chime in, with perfect timing: “We complete each other.”
Sometimes Lisa-Kaindé Díaz will be wandering around her apartment, singing to herself, only to find twin sister Naomi singing exactly the same song, at exactly the same part.
“It is not strange to us for that to happen,” she says. Or at least I think Lisa-Kaindé says it – their tendency to complete each other’s sentences, disagree furiously mid-sentence, or just tumble their thoughts over the top of each other’s makes it hard to untangle exactly who is saying what.
“With music, we just look in each other’s eyes, and we know,” adds Naomi (or at least I think it’s Naomi, etc etc).
The 19-year-old French-Cuban sisters are currently putting their musical sixth sense to good use as Ibeyi, adding an electronic edge to their piano and percussion compositions to produce what they describe as “contemporary negro spirituals”. Much of their inspiration comes from Yorùbá tradition, from the chants brought over to Cuba from Nigeria and Benin on slave ships. These songs have always been an integral part of their lives thanks to their mother, who grew up singing them. Ibeyi’s unique combination of the ancient and modern is no doubt what persuaded XL boss Richard Russell to sign them and produce their self-titled debut album.
The sisters’ story is pretty remarkable. Their father was the famous Cuban percussionist Miguel “Angá” Díaz, a conguero who played with the Buena Vista Social Club, among others, before his death in 2006. Asked what musical lessons he gave them, Lisa-Kaindé gestures a “zero” sign: “He would ask if we wanted to do music and we would say, ‘No, we want to go to the beach!’ So he let us do that.”
The girls credit their Venezuelan mother (who also acts as their manager) for really pushing them and inspiring their love of Yorùbá culture. Yet their father’s influence seems undeniable: the day after he died, Naomi picked up her first instrument – the cajón – and began playing.
“It was an unconscious thing,” she says, reflecting on the synchronicity.
“But I do think there was something spiritual about it,” says Lisa-Kaindé. “It was our father’s new instrument, and one he wanted to be better at. [Naomi] didn’t know about this instrument and yet she started playing it … so there is something there.”
They also remember vividly the only time their father cried – when he found them arguing about the television. He delivered a speech: “You girls have to help each other and not fight – you are sisters, you must find a way to love each other every day.”
The way they eventually found was music – in fact, they say music is the only way they can communicate with each other without ending up in a screaming match.
“Oh, we scream a lot,” laughs Lisa‑Kaindé. “We were screaming just two hours ago!”
The reason they argue is also the reason their music works so well: they have polar opposite personalities. Naomi, the impulsive, energetic party girl, looks after production and percussion, as well as bringing her love of hip-hop, dancehall and electronica to the mix; Lisa-Kiandé, the more studious homebody, listens mainly to old soul and jazz artists, and concentrates on the compositional side. Musical disagreements seem to fuel their best songs, and although there is plenty more screaming during writing and rehearsal sessions, it melts away when they get on stage.
“People say we communicate in a really beautiful way on stage,” says Lisa-Kaindé. “It can be like therapy.”
Like therapy?
“When we have a person that is here with us, we don’t argue,” says Naomi, nodding towards me. “The audience is the same. So being on stage is the therapy, and the audience is like …”
“... the psychoanalyst!” says Lisa-Kaindé. “It’s true! In a way it’s like that.”
“It’s weird though,” laughs Naomi. “We sound weird.”
Behind their laughter is a serious point. The songs on Ibeyi – which is Yorùbán for “twins” – address their late father (Think of You) and also their older sister (Yanira), who died in 2013 from a stroke. Lisa-Kaindé says that whenever they play live, it allows them to re-enact the pain in the songs but emerge with strength.
“That’s why I love songs,” she says. “It’s like living your pain again, but winning. At the end of every song I’m like, ‘I won the war, I won this pain, this is over.’”
Music, it becomes abundantly clear, is not something the sisters deal with lightly. Many of their songs are inspired by – and structured like – prayers, with their use of repetition and lyrics, such as recent single River’s “come to the river, wash my soul”.
Of course, taking music so seriously means making sure the songs are as good as can be, which means more disagreements. And more screaming.
“When she writes the songs, I will listen after and say ‘it’s shit’ or ‘it’s not shit’”, says Naomi.
Lisa-Kaindé nods forlornly: “She is really tough.”
But you appreciate the criticism, right?
Lisa-Kaindé: “No.”
Naomi: “No, but in a way, yes!”
Lisa-Kaindé: “No, sometimes I do not.”
Naomi: “But in a way, you do.”
Lisa-Kaindé: “No! Of course you don’t appreciate when you make a song you are so happy with and someone tells you it’s bullshit.”
“No,” says Naomi, pausing for a second: “But in a way, yes!”
While I’m laughing, Lisa-Kaindé concedes that she wouldn’t want someone telling her everything is wonderful all the time: “I wouldn’t want to make music she doesn’t like. Because in the end, the music sounds like a part of me and a part of her. It will only work if we both like it, because …”
She pauses for a micro-second, so her sister can chime in, with perfect timing: “We complete each other.”
Saturday, November 1, 2014
Thursday, April 10, 2014
Little Dragon | Paris
In a little over a month, Little Dragon will be putting out Nabuma Rubberband, their first album in three years.
The follow-up to 2011′s nearly perfect Ritual Union is shaping up to be quite a release, as heard by lead single “Klapp Klapp” and now “Paris.”
BBC Radio 1 DJ Zane Lowe put up a radio play of the song for fans to stream, and it gives us a peek at the groovy, electro-soul “Paris.” Frontwoman Yukimi Nagano will no doubt rock the song live with some great moves that it inevitably inspires.
We’ll have to wait until May 13 though for Nabuma Rubberband to be released via Loma Vista.
Pre-order the album on Itunes now and receive "Paris" and "Klapp Klapp" instantly
po.st/NabumaRubberband
Physical pre-order: po.st/littledd2c
Available in the USA on May 13th on Loma Vista Recordings
Available in the rest of the world on May 12th on Because Music
www.nabumarubberband.com
Sunday, March 30, 2014
House of Fingers | Finger Circus
Some new ish from Finger Circus. A day in the life...
Dancers: #FINGERCIRCUS Strobe Ctut Pnut Nemesis Era (Missing Jayfunk)
Facebook: http://www.facebook.com/statussilver
Song: Fytch- That i love you
Thursday, March 27, 2014
ALESIA x M.I.A | Pull Up The People
“SURPRISE MOTHERF*CKER” announced French duo, Alesia, this morning regarding a free download drop featuring vocals from the talented M.I.A. “Pull Up The People” furthers Alesia’s allegiance to no genres, incorporating elements of Techno, Hip Hop, and Electro for a beastly, bass-heavy rumbler that perfectly conjoins with M.I.A’s distorted vocals. Bounce along to this great, gritty collaboration.
Tuesday, July 16, 2013
Brian S & Kidd Wrek ft. Dana Lori | ONE (Blackberry 10 Inspired Anthem) [Free Download]
A tune we made inspired by Blackberry 10. Team BlackBerry has always felt like WE ARE ONE!!! BOOM!!!
Brian S Online: djbrians.com | Twitter.com/DJBrianS | Facebook.com/djbrians1 | YouTube.com/djbrians | Instagram.com/djbrians
Kidd Wrek Online: kiddwrek.com | Twitter.com/KiddWrek | Facebook.com/kiddwrek | Kidd Wrek SoundCloud: @kiddwrek
Dana Lori Online: Twitter.com/DanaLori | Facebook.com/1DanaLori
Brian S Online: djbrians.com | Twitter.com/DJBrianS | Facebook.com/djbrians1 | YouTube.com/djbrians | Instagram.com/djbrians
Kidd Wrek Online: kiddwrek.com | Twitter.com/KiddWrek | Facebook.com/kiddwrek | Kidd Wrek SoundCloud: @kiddwrek
Dana Lori Online: Twitter.com/DanaLori | Facebook.com/1DanaLori
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Thursday, July 11, 2013
LES TWINS x YAK FILMS "One Shot" Blu-ray 7/24 PRE-ORDER on AMAZON
"One Shot" comes out July 24th 2013, pre-order now with this Japan link: http://www.amazon.co.jp/TWINSxYAK-FILMS%E2%80%9CONE-SHOT-Blu-ray-Disc/dp/B00D281W4U
USA link will become active on July 24th 2013: http://www.amazon.com/LES-TWINS-YAK-FILM/dp/B00D281W4U/ref=sr_1_3?ie=UTF8&qid=1371775939&sr=8-3&keywords=les+twins
Music "OwOw 70" by Insightful
https://soundcloud.com/insightfulone
https://www.facebook.com/insightfullll
http://www.YAKFILMS.com
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
2ToneDisco | Tokyo Sunrise (Original Mix)
I can dig tracks like this because it brings out the dance in me, it mad funky and brings a lot of transitions...
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Amazing electronic track from '2ToneDisco', there's a lot going on in this song that gives it a kind of funky feel to it. I like it.
Please Support 2ToneDisco @:
Website - http://www.2tonedisco.com
Soundcloud - https://soundcloud.com/2tonedisco
Facebook - https://www.facebook.com/2ToneDisco
Twitter - http://www.twitter.com/2tonedisco
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Saturday, July 6, 2013
Monstapop in "Good Times" Montreal Canada | YAK FILMS
Music "Word2Mutha" by Beat Machine Aaron (BMA)
https://www.facebook.com/pages/Beat-Machine-Aron/211722735547006
http://soundcloud.com/aronkottur
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
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