Ibeyi On Capitalism in Cuba and Signing to XL Recordings

True to form, the latest signing to London’s XL Recordings is poised to soulfully shake up the pop world. Ibeyi, the French-Cuban duo of twin sisters Lisa-Kaindé and Naomi Diaz, fuse Latin jazz, traditional Yoruban chants and minimalistic hip-hop production, which means they follow in the footsteps of their father, the late Buena Vista Social Club percussionist Miguel “Anga” Diaz. Here, Ibeyi explains Yoruban spiritual traditions and optimal forms of sibling communication.

Chanting plays an important role in your music, which hovers somewhere between musical cultures: African, Cuban, American R&B, to name a few. When was the first time you heard chanting? And what does it mean for you?

LISA-KAINDÉ: Probably when we were still in our mother’s womb. She was initiated into the Yoruba religion when she was pregnant with us, and chanting is an important part of that. See, being initiated is a little like getting baptized or like being born a second time. It’s a religious purification process.

NAOMI: It’s a very long ceremony that takes one full week where you have to take part in different rituals. There are a lot of things you have to do in that week to align and connect yourself—with the gods, for instance. It’s a religion that was brought over to Cuba by slaves from West Africa.

LISA-KAINDÉ: We are initiated in Yoruba, too, as was our father. I am the daughter of the sea, and Naomi is the daughter of the jungle. But we don’t practice it every day. We don’t worship or pray a lot. It’s more a way of thinking and seeing life as something mystical and living with the awareness of being connected to something bigger, a bigger force, like nature, mother earth or the universe at large. Honestly, I don’t believe in gods, though. As a religion, Yoruba has also been politicized in Cuba to some extent, just like other religions in other countries. I don’t like that very much.

NAOMI: Me neither. For me it’s more about knowing that all of nature is alive and that you can communicate with it.

So how does a traditional chant end up in one of your songs?

LISA-KAINDÉ: It just happens. It’s usually a very natural process. “Ghosts” is the only exception: I had this image of an erupting volcano and flowing lava in my head, and then I thought of this Yoruba chant which deals with lava. [Starts singing]. But with “River (Oshun Dub)” for instance, I already had the line “Come to your river,” and then I started chanting. Oshun is the goddess of the river, you know. But I never look at Yoruba books for inspiration…

NAOMI: [Pretends to go through a book] …Hmmm, maybe this one. No, this one?

LISA-KAINDÉ: We know them by heart anyway. That’s why they come so naturally. I start with some chords, a melody and the rest just comes—or not. If it doesn’t come to me, then that’s fine, too. There is no unwritten law that we have to include Yoruba chants in every song. It has to come naturally to me, otherwise it’s not right.

NAOMI: Sometimes we write the lyrics with our mother, who is also our manager. Or with our uncle. Well, he’s not actually our uncle, we’re not related by blood, but we still call him that.

LISA-KAINDÉ: Sometimes I have a song and lyrics, but I have the feeling that I haven’t expressed what I wanted to say properly. Then I will play the song to my mother and tell her what I want to say, so she can help me with it. Sometimes she comes up with her own lyrics and I start to make music for them. The same goes for our uncle.

You were born in Cuba but you grew up in Paris, right?

LISA-KAINDÉ: Yes, our parents separated when we were very young. We moved with our mother from Cuba to Paris when we were two years old.

NAOMI: But even in Paris we were surrounded by chants and Yoruba culture—

LISA-KAINDÉ: —because we were attending a lot of ceremonies and were in choirs.

How often do you go back to Cuba?

NAOMI: Once a year. Our family has a house there, and we have a lot of friends in Havana.

Do you prefer one place over the other? Cuba and France are two very different countries.

LISA-KAINDÉ: I think we need both to be happy. We’re very different when we’re in Cuba. Naomi always says that she feels more free over there. For me it’s more about my body—it changes. The way I walk, for instance. But also my thinking is different.

NAOMI: In Cuba I can live with nothing. We don’t have hot water or electricity in my grandparent’s house, for instance. I like that. But I couldn’t live like that in Paris.

LISA-KAINDÉ: Your inner dialogue quiets down in Cuba. You live more in the moment and you’re not as distracted by things, like the urge to buy clothes. And even if you were, you can’t really go out shopping. We don’t miss the things we cherish about Paris when we’re back in Cuba. Your mind can wander freely there. I guess that’s what you call the “simple life.”

NAOMI: That’s a privilege obviously. For people who live there the situation is very different. We’re lucky enough to have both worlds. I imagine you could say that where we find freedom, they experience scarcity.

LISA-KAINDÉ: It’s all about being more closely connected to nature. If I eat fresh fruit in Cuba, they actually have taste. You can feel the energy. It’s a special place with such a rich culture. At the same time, I love that you can have access to everything within seconds in Paris. You have museums, theatres, music conservatories. It’s easier here to bloom and become successful. You can do everything in Cuba too, but you have to really want it. It forces you to be extra passionate and persistent. You know, our father came from nothing and he became one of the most revered musicians in the world.

Now that the US embargo has partially ended, a lot might change.

NAOMI: Well, the majority in Cuba wants change, but at the same time, a lot of people are scared, too. Let’s see what the future brings. But I think it’s a good thing that the US stopped the embargo after fifty-six years. My friends don’t know what they’re in for, though. They don’t know what capitalism is. They just want to be able to use iPhones, buy clothes, wear gold jewelery and pose like hip-hop stars.

LISA-KAINDÉ: No, that’s not what they want. They want the original American Dream: To be able to build yourself up from nothing and make a lot of money doing it. In Cuba you can be the best doctor in the world, but you’re still going to be poor. Young people in Cuba want something else.

That’s understandable. But do Cubans also see the American Dream as a kind of scam?

NAOMI: It’s all very contradictory. I don’t think people are prepared for capitalism and how it will affect them. Take bus drivers in Havana for instance: If they want to drink a coffee, they stop the bus and go drink a coffee, even if the bus is full with passengers. If you do that in Paris you would get fired immediately.

When did you start making music together?

NAOMI: Not so long ago, to be honest. Three years, maybe? Lisa started to write music and one day she told me that she got an offer to release an EP, and I was like: “You’re not going to make an EP without me!” And Lisa said: “No, I won’t.” So we started to work together. It didn’t go so well, at first. We are very, very different in everything we do. So we were fighting the whole time. We still do.

LISA-KAINDÉ: But we realized when we went on stage together for the first time that music is the ideal way for us to communicate.

What happened to the original EP? Was it ever released?

LISA-KAINDÉ: No. Just before it was scheduled to be released we got in contact with XL Recordings and decided not to put it on the Internet.

How did you meet Richard Russell from XL?

LISA-KAINDÉ: We did a video of us playing “Mama Says” live opening for Alice Russell, and you can see that the bass drum says “Russell.” When Richard saw it on YouTube, he said, “Let’s sign them.” At least that’s what he told us. We got a call, and he asked if we wanted to meet him. We freaked out. Of course we wanted that. And then we knew…

NAOMI: …he was the one.

LISA-KAINDÉ: Within a month we started recording. It all went very fast. We were only 18 years old. I was at university, but I had to quit and then my music school kicked me out, because we were playing too many shows. From then on it was music only. It was really frightening. I cried for two weeks. I wasn’t sure if I wanted to be a musician. But when I came to the XL studio, I realized, yeah, this is what I’m going to do. Life chose for me. Music was always there, and my father was this amazing musician who toured the world, but I like it calm. I’m a quiet person. I always thought that I would be a music teacher, teach my classes everyday and then just go back home to my family and live a quiet life. That’s something I love. But life chose a different path for me, which isn’t calm at all. I realized the opportunity was like a train that wasn’t going to pass twice.

Did your sound evolve while working with Richard Russell?

NAOMI: Yes, a lot. He was a great guide, helping us to explore so many possibilities without telling us what to do and what not do.

LISA-KAINDÉ: He definitely changed the way we listen to our songs and perceive sound in general. We didn’t have a clue about sound. He opened our ears to every little detail. We tend to listen to music like producers now. We didn’t know what an MPC was or any other machine. We just knew that we wanted to produce the music on our own without other musicians and to use electronic elements to combine all the things we love musically: Latin jazz, hip-hop, African music. But we also wanted something organic. Silence is really important to me. I’ve always said that silence is music. I really believe in that. It creates intensity, and music is about balance. It’s all about dynamics. Dynamics in volume is one reason you get goose bumps from music. You want to feel that your spirit is leaving your body through the music.

This article originally appeared in the Spring 2015 issue of Electronic Beats Magazine. Click here to read more from this issue.

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Old Soul: Arto Lindsay recommends King Krule’s <i>6 Feet Beneath the Moon</i>

The US-born guitarist, singer, producer and seminal no wave artist, who cut his teeth on Tropicália and lives in Rio de Janeiro, considers the debut album by the British jazz-punk balladeer. Interview conducted by Michael Lutz.

 

King Krule is only nineteen years old, and that’s remarkable when considering the craftsmanship of his record 6 Feet Beneath the Moon. People oddly tend to file his music under electronic genres, especially UK bass stuff or dubstep. That’s probably because he appears to be a scion of James Blake. But in all honesty, I don’t know why. They’re so different, instrumentally. Atmospherically, however, there are certain similarities. One could say that both are young and melancholy. But so are many others. Maybe it’s because both are extremely precocious. Though King Krule is not nearly as electronic as James Blake, he achieves a lot of the same mood through traditional instruments.

A good person to relate King Krule’s music to is Lou Reed, because Lou Reed has a very simple structure and just sings or sometimes even speaks over it. King Krule is more of a singer, but the structure is similarly straightforward. He’s free in what he does because the harmonic structures are plain—just two chords in a song for example, and then when he goes to change, it gets very telling. These moments make clear that he knows something about music. He does something that’s very musicianly and makes choices only somebody who knows how to write a song would make. He uses kind of an eighties bass sound and dub techniques—pretty basic. In almost every song it’s a voice, a guitar and either hand-played drums or an electronic beat. Out of this he builds something subtle, but I don’t want to call it old-fashioned. It’s more like he’s studying the ways a song can or can’t be built, like on “Easy Easy” or “Has This Hit?” In that regard the music is definitely retro.

Traces of dubstep, its repetitive patterns and atmospheres, can be found here too. And when he breaks up these repetitive arrangements it gets very telling, emotionally speaking. He sounds thoughtful, but not depressed, and that’s a relief because there’s so many comparable young artists that massively exploit melancholy just to boost atmosphere. All too often this ends up with pathetic results. King Krule is not pathetic at all. What he does is some weird kind of serious singer-songwriter R&B.

The lyrics are very poetic, and they try hard to be abstract. There are other songwriters of this generation who’re capable of telling a story much more plainly, but with King Krule it’s like he gets more from the sound of his voice than from the lyrics themselves. He’s content to offer fragments. They make sense a few words at a time, but they don’t really make sense all together, which is kind of nice. He’s got that heavy UK accent, and it took me a while to get past that, because it’s almost that he’s defiantly singing that way. It’s obviously a choice and in the end I think a good one.

A friend of mine recently sent me link to a Rinse FM show guest moderated by King Krule. It starts with one of my own tracks, “Illuminated”, and right after that, King Krule says something like, “Arto Lindsay really influenced me.” I had heard of him before and found his stuff is pretty cool, so fuck yeah I was flattered. ~

6 Feet Beneath the Moon is out now on XL Recordings. This text first appeared first in Electronic Beats Magazine N° 36 (4, 2013). Read the full issue on issuu.com or in the embed below. 

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Videodrome 106 – This week’s best videos

In this week’s Videodrome: audio-visual joy from the likes of Kanye West, Pantatones, Westbam and many more to explore.

 

#1 M/M – “8 (Dub)”

A trippy video for an excellent track, M/M is Brooklyn’s Michael McGregor, and I actually can’t wait for more.

 

#2 DonChristian – “My Crew”, directed by Sam Jones

The first time DonChristian appeared on our radar was back when Le1f was releasing his first mixtape. Watch the video and you’ll feel the Le1f-vibe: high fashion, beautiful people and cool art direction.

 

#3 Pentatones – “Bonfire”, directed by Kristin Herziger

Last month, Pentatones released their first full-length and “Bonfire” is the killer track on it. Watch the accompanying video above.

 

#4 Postiljonen – “Atlantis”, directed by Ty Olson

In this video, which actually looks like a car commercial, you can learn what the music is like on SkyerPostiljonen‘s soon to be released album.

 

#5 Real Lies – “Deeper”, directed by Rollo Jackson

Real LiesWorld Peace/Deeper 12-inch is just the first drop of an awaited trilogy of 12″ releases on the up-and-coming London imprint Sweet Exile. Here music video director Rollo Jackson, who has made videos for the likes of Hot Chip and Squarepusher, has produced a pretty decent clip.

 

#6 Samantha’s Vacation – “Samantha’s Vacation”, directed by Christine Jones

Man, what’s going on with these clips for 12-inches? Back in the day you needed a major label contract in order to come up with a cool music video on a little budget. Here’s the second one this week, brought to you by the always inspiring L.I.E.S. imprint. Ace track!

 

#7 Westbam feat. Bernard Sumner – “She Wants”, directed by Johannes von Liebenstein

Maximilian Lenz aka Westbam has released another full-length album this year which is packed with collaborations. One of these collaborations has Bernhard Sumner of New Order-fame on top. Can you handle this?

 

#8 Sigur Rós – “Brennisteinn”

Woah. Cool new Sigur Ros track off of their Kveikur album, which was released earlier this year through XL Recordings.

 

#9 Kakkmaddafakka – “Someone New” (Roosevelt Remix), directed by Erlend Øye & Marcin Öz

Some days ago the Norwegians dropped their Erlend Øye-produced album Six Months Is A Long Time, here’s the Citron-esque video for the Roosevelt rework.

 

#10 Kayne West – “Black Skinhead”, directed by Nick Knight

Cant believe this is the first video for Kanye‘s Yeezus album. Pretty low budget and flat idea—or is it a leak of the unfinished version?

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Download a new Damon Albarn produced Bobby Womack tune

Download a new Damon Albarn produced Bobby Womack tune Are we witnessing a new label being established at XL Recordings? It seems just as if when dealing with The Bravest Man in the Universe, the upcoming comeback album by soul legend Bobby Womack, (co-) produced by XL label head Richard Russell as well as Blur and Gorillaz main man Damon Albarn.

The new album will be released on June 11 2012, Womack and XL revealed the first track ‘Please Forgive My Heart’ yesterday afternoon. We’ve been pretty excited about this as you might tell:

After having collaborated with Albarn in 2010 on the Gorillaz single ‘Stylo’ (together with Mos Def) and on last year’s DRC Music album, the two now joined forces again. Damon Albarn’s contribution to the project being obviously his amazing pop talents and his goodwill as a producer and pop mastermind. Just as XL Recordings’ 2010 collaboration between spoken word poet Gil-Scott Heron and Jamie xx, the newish liaison sees a nearly forgotten music legend returning on Russell’s alt-label side by side with an unburnt musician.

I think it sounds like a very modern soul record“, Richard Russell recently explained in an interview with Billboard Magazine, stating that Womack’s voice is amazing and “if people have been listening to things like Frank Ocean and the Weeknd (then they’ll like it)“.

Expect more news to arise in the next weeks, a first Bobby Womack live show in Houston, Texas has already been confirmed for tomorrow, we’ll probably know more after the weekend. Now listen to and download ‘Please Forgive My Heart’ and look forward to June.

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Peaches goes into the mud

Peaches goes into the mud

Who doesn’t appreciate a dirt shower from time to time? For Peaches at least it seems to be purification for the soul. In her new clip for ‘Mud’ the always-provocative Canadian gets dunked in gallons of what looks like a disgusting smelly liquid. The song itself comes from her 2009 release I Feel Cream and is an impressive punch line to the project of visualizing the whole album with a video for each song.

I Feel Cream is out on XL Recordings, and you can watch the clip below.

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