Tag: Buena Vista Social Club

Single Review by William Ruben Helms

Lyric Video: JOVM Mainstays Ibeyi Teams up with BERWYN on a Swaggering and Impassioned Re-Imagining of Black Flag Anthem

Deriving their name from the Yoruba word for twins ibeji, the acclaimed French-Cuban, London-based twin sibling duo and JOVM mainstays Ibeyi (pronounced ee-bey-ee) — Lisa-Kainde Diaz and Naomi Diaz — can trace the origins of their music career to growing up in a deeply musical home: their father, Anga Diaz, was best known for his work as a member of the intentionally acclaimed Buena Vista Social Club and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. Anga died when the twins turned 11.

After their father’s death, Lisa-Kainde and Naomi began studying Yoruba folk songs and the cajon, an Afro-Caribbean drum that the twins’ father played throughout most of his career. Interestingly, although Yoruba is primarily spoken in Nigeria and Benin, the African language has been spoken in some form in Cuba since the 1700s, when the slave trade brought Africans en masse to the Caribbean. So when the twins started studying their late father’s musical and culture heritage, they had a deeper understanding of their father and of their ancestral history.

Ibeyi’s 2015 self-titled debut was released to widespread, international critical applause. Thematically, the album dealt with the weight of the past — in particular, their father’s life and death, their relationship with each other, their origins and their connection with their roots. Sonically, the album saw the Diaz Sisters quickly establishing a unique sound with elements of electro pop, hip-hop, jazz, the blues and Yoruba folk music.

The French-Cuban JOVM mainstays’ sophomore album 2017’s Ash saw them writing songs firmly rooted in Afro-Cuban culture and history — but while arguably being among the most visceral, politically charged material of their catalog to date, with the album’s material thematically touching upon race, gender and sexual identity. 

Slated for a May 6, 2022 release through XL Recordings, Spell 31, Ibeyi’s third album derives its title from “Spell 31” in The Ancient Egyptian Book of the Dead, which interestingly enough became the premise of the album’s first single “Made of Gold,” a lushly textured song featuring atmospheric synths, buzzing bass synths, skittering tweeter and woofer rattling beats, the twins’ gorgeous and dreamy harmonizing and a guest spot from Gambian-British emcee Pa Salieu.

When the twins returned to the studio to write and record new material, they had felt a sense of chaos, informed by the chaotic state of the world surrounding them. As they got to work, they set out to invoke the age-old teachings of their ancestors to remobilize the power of their birth-given destiny as Ibeyi. 

The album reportedly sees the twins on a path to restoration in pursuit of true harmony, healing and magic — all of which, we desperately need right now. The JOVM mainstays commissioned activist and storyteller Janaya Future Khan to write an essay for them, after meeting the activist and storyteller. Khan explains “Ibeyi’s Spell 31 is their boldest offering yet, an antidote to apathy in a divided world.” They explain further, “Spell 31 casts with conviction, transmuting nihilism into sangoma, binaries into endless dualites, moral austerity into abundance. A subversive and halcyonic manifesto from queens of a sovereign land, Ibeyi occupies the liminal, the space between life and death, past and present, right and wrong, and calls for the interior revelations that create the systemic revolutions we long for.”

Continuing their successful collaboration with their long-time producer Richard Russell, Spell 31‘s 10 songs were written, produced and recorded by the duo and features appearances from Jorja Smith, BERYWN, the twins’ father and mother, and the aforementioned Pa Salieu. The album also features a reimagining of Black Flag‘s “Rise Above.”

Earlier this year, I wrote about album track “Sister 2 Sister.” Centered around a hyper-modern production featuring wobbling bass synths, skittering beats, glistening synths and the twins’ uncanny and gorgeous harmonizing, “Sister 2 Sister” is inspired by their Afro-Latin roots and their sisterhood: The song sees the twins recalling a fond memory of singing along to Shakira in the mirror. But they also talk of the knowledge that despite the times they might be at odds with other, they know they can always depend on and rely on each other.

Spell 31‘s latest single sees the JOVM mainstays re-imaging Black Flag‘s 1981 anthem “Rise Above” that features a guest spot from London-based artist BERWYN. Having never heard the song before, Lisa-Kainde and Naomi were presented the song’s lyrics by their producer Richard Russell. They quickly got to work, looping an old sample of their father drums, improvising a completely new sonic take for a song originally written back in the 80s, that still resonate now.

Centered around stuttering, reverb-drenched beats, buzzing bass synths, the Diaz Sisters soulful and impassioned delivery, the Ibeyi take on “Rise Above” still calls out the rich and powerful, who control us — and young people’s desire to stand up and make a new, fairer world. BERWYN delivers a fiery guest verse in which he says “if the revolution is now, I’m the first to join in the fight!” The collaboration between the JOVM mainstays and BERWYN manages to make a vital connection between punk rock, hip-hop and Black Lives Matter — reminding the listener that the struggles of punks in the 80s are the pretty much the same as BLM today.

“We read the lyrics and we immediately felt their relevance to how we felt about the world in its current state,” Lisa-Kainde Diaz explain sin press notes. “We got to work on the melody and had the full song done in 5 minutes. Jorja Smith heard the track and told us we had to get BERWYN on the song. We had him by the studio to listen to the full album. I left to make tea, upon returning to the studio BERWYN had already written his verse for “Rise Above,” before he had even finished listening to the album. We knew we had something special, what a gift!”

Video by William Ruben Helms

New Video: JOVM Mainstays Ibeyi Share Gorgeous and Symbolic Visual for Mesmerizing “Sister 2 Sister”

Deriving their name from the Yoruba word for twins ibeji, the acclaimed French-Cuban, London-based twin sibling duo Ibeyi (pronounced ee-bey-ee) — Lisa-Kainde Diaz and Naomi Diaz — can trace the origins of their music career to growing up in a deeply musical home: their father, Anga Diaz, was best known for his work as a member of the intentionally acclaimed Buena Vista Social Club and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. Sadly, Anga died when the Diaz Sisters were 11.

Upon their father’s death, Lisa-Kainde and Naomi began studying Yoruba folk songs and the cajon, an Afro-Caribbean drum that their father played throughout most of his career. Interestingly enough, although Yoruba is primarily spoken throughout Nigeria and Benin, the African language has been spoken in some fashion in Cuba since the 1700s, when the slave trade brought Africans to the Caribbean. So when the twins started studying their late father’s music and cultural heritage, they had a deeper understanding of their father as a person, while getting in touch with their ancestral history.

The twins 2015 self-titled debut was critically applauded. Thematically, the album dealt with the past — their father’s life and death, their relationship with each other, their own origins and connecting with their roots. Sonically the album saw them quickly establishing a unique sound that features elements of electro pop, hip-hop, jazz, the blues and Yoruba folk music.

The JOVM mainstays’ sophomore album 2017’s Ash saw the sibling duo writing songs firmly rooted in Afro-Cuban culture and history — but while arguably being among the most visceral, politically charged material of their catalog to date, with the album’s material thematically touching upon race, gender and sexual identity.

Slated for a May 6, 2022 release through XL Recordings, Spell 31, Ibeyi’s third album derives its title from “Spell 31” in The Ancient Egyptian Book of the Dead, which interestingly enough became the premise of the album’s first single “Made of Gold,” a lushly textured song featuring atmospheric synths, buzzing bass synths, skittering tweeter and woofer rattling beats, the twins’ gorgeous and dreamy harmonizing and a guest spot from Gambian-British emcee Pa Salieu.

When the twins returned to the studio to write and record new material, they had felt a sense of chaos, informed by the chaotic state of the world surrounding them. As they got to work, they set out to invoke the age-old teachings of their ancestors to remobilize the power of their birth-given destiny as Ibeyi.

The album reportedly sees the twins on a path to restoration in pursuit of true harmony, healing and magic — all of which, we desperately need right now. The JOVM mainstays commissioned activist and storyteller Janaya Future Khan to write an essay for them, after meeting the activist and storyteller. Khan explains “Ibeyi’s Spell 31 is their boldest offering yet, an antidote to apathy in a divided world.” They explain further, “Spell 31 casts with conviction, transmuting nihilism into sangoma, binaries into endless dualites, moral austerity into abundance. A subversive and halcyonic manifesto from queens of a sovereign land, Ibeyi occupies the liminal, the space between life and death, past and present, right and wrong, and calls for the interior revelations that create the systemic revolutions we long for.”

Continuing their successful collaboration with their long-time producer Richard Russell, Spell 31‘s 10 songs were written, produced and recorded by the duo and features appearances from Jorja Smith, BERYWN, the twins’ father and mother, and the aforementioned Pa Salieu. The album also features a reimagining of Black Flag‘s “Rise Above.”

Along with the album announcement, the JOVM mainstays released Spell 31‘s lead single “Sister 2 Sister.” Centered around a hyper modern production featuring wobbling bass synths, skittering beats, glistening synths and the twins’ gorgeous harmonies “Sister 2 Sister” is inspired and informed by their Afro-Latin roots and their sisterhood: They recall a fond memory singing along to Shakira in the mirror and they talk about how they know they can depend on and rely on each other — even when they’re occasionally when they’re at odds. The song also features a sample of “River” off their self-titled debut.

Directed by Colin Solar Cardo, the accompanying visual for “Sister 2 Sister” stars Lisa-Kaindé and Naomi Diaz, along with a collection of beautiful dancers. While incredibly symbolic, the visual touches upon the themes of its accompanying song — with the sisters’ and dancers’, movements conveying the twins’ deep bond.

Video by William Ruben Helms

New Video: Mista Savona Teams Up with Cuban Star Cimafunk on an Infectious Banger

Melbourne, Australia-based producer and musician Jake Savona has had a long love affair with the music and culture of Jamaica, releasing a string of critically and commercially successful reggae and dub albums with his recording project Mista Savona.

Eventually Savona discovered Cuban music — and he began dreaming of a collaborative project that would bring top musicians from Cuba and Jamaica together to collaborate on material. In 2015, Savona received a great from the Australian Council that funded his ambitious project. Both countries are connected by common African roots and colonial histories and yet the music of Cuba and Jamaica have largely traveled in separate lanes. And while both countries individually have had an immeasurable influence on music globally, their influence on one another have generally been less evident.

The acclaimed Aussie musician and producer along with Sly & Robbie (drummer Sly Dunbar and bassist Robbie Shakespeare) traveled to Cuba and began recording in EGREM Studio, where Buena Vista Social Club and a number of equally legendary artists have recorded material. More sessions followed, many other artists invited to take part and after years of painstaking effort, Mista Savona Presents Havana Meets Kingston was released in 2017 to worldwide acclaim.

Slated for release next year through Cumbancha Records, Mista Savona Presents Havana Meets Kingston Part 2 continues the bold and ambitious mission of its predecessor — bridging the incredibly diverse and important music cultures of Cuba and Jamaica. The album features a deep lineup of artists collaborating together including Jamaican stars Clinton Fearon, Randy Valentine, Prince Alla, and Micah Shemaiah, Cuban stars Barbarito Torres, Changuito, Brenda Navarette, Solis and Beatriz Marquez, as well as a lengthy list of others from both countries.

Mista Savona Presents Havana Meets Kingston Part 2’s latest single “Beat Con Flow” can trace some of its origins back to 2015 when Savona first saw Cimafunk performing with Interactivo, years before Cimafunk became a household name in his native Cuba. The backing band, which featured Sly Dunbar (drums), the late Winston “Bopee” Bowen (guitar), Gaston Joya (bass), Julito Padrón (trumpet), Savona (piano, Hammond organ) and DJ Wasabi (turntables) recorded an infectious and hook-driven, strutting party anthem that’s indebted to old school reggae, hip-hop and pop.

Later Cimafunk recorded his vocal parts at a small, rundown Havana recording studio, bragging in Cuban slang that he’s dope and spits fire on the mic — and that along with the backing band, that’s providing the infectious funk that will make you get up, dance and forget your problems for a little bit. 2020 has been difficult for all of us, and the song offers the much-needed fun and upbeat vibes our exhausted hearts and souls need right now.

Directed by Rick Mereki, the recently released video for “Beat con Flow” features beautiful brown and Black people dancing to the song in a variety of colorful and interesting spaces from graffiti covered streetscapes, living rooms, clubs and an abandoned pool.

women who kick ass by William Ruben Helms
Read More

Live Concert Photography: Celebrate Brooklyn! Festival at the Prospect Park Bandshell 6/8/19: Ibeyi with Sudan Archives

Live concert photography of Ibeyi with Sudan Archives at Celebrate Brooklyn! Festival at Prospect Park Bandshell earlier this month.

Video by William Ruben Helms

Live Footage: Ibeyi Performs “Deathless” with Harlem Gospel Choir and Onyx Collective on “Late Show with Stephen Colbert”

Deriving their name from the Yoruba word for twins ibeji, the French-Cuban twin sibling duo Ibeyi (pronounced ee-bey-ee), comprised of Lisa-Kainde Diaz and Naomi Diaz have become JOVM mainstays and a critically applauded, internationally recognized act. Interestingly, the Diaz sisters are the daughters of the late and renowned percussionist Anga Diaz, best known as a member of Buena Vista Social Club, and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. The elder Diaz died when the girls were 11, and upon his death, they studied Yoruba folk songs and the cajon, an Afro-Carribean drum, which their father had specialized in throughout most of his musical career. 

While Yoruba is primarily spoken throughout Nigeria and Benin, it has been spoken in some fashion in Cuba since the 1700s when the slave trade brought Africans to the Caribbean — and to the island. When the Diaz sisters began studying their late father’s musical culture and heritage, it gave them a much greater understanding of the man, where he came from while putting them in touch with their ancestral history. Unsurprisingly, the Diaz sister’s self-titled Ibeyi debut, which was released to critical praise in 2015, thematically dealt with the past — the loss of their father, their relationship with each other, their father’s and their own origins and roots, while sonically the duo’s sound possessed elements of contemporary electro pop, hip-hop, jazz, the blues and traditional Yoruba folk music in a way that brought to mind Henry Cole and the Afrobeat Collective‘s Roots Before Branches as both albums conscientiously made a spiritual and musical connection between the African Diaspora in the West and the motherland. 

Up until last year though, some time had passed since I had personally written about  the Diaz sisters, and as it turned out, they had spent the better part of 2016 writing and recording the material that would comprise their sophomore effort Ash, which XL Records released late last year. Now, as you recall the album’s first album, “Away Away,” lyrically and thematically focused on accepting pain as a necessary part of life, while celebrating life for its complicated entirety.  Of course, sonically speaking, the track further cements their  reputation for resoundingly positive messages sung with their gorgeous harmonizing paired with slick and swaggering electronic production. However, the material overall reportedly finds the Diaz sisters writing some of the most visceral, politically charged material they’ve released to date; but while centered on who the Diaz sisters are after a year in which racial, gender and sexual identity issues are among the most important and vexing of our current time. 

“Deathless,” Ash‘s second single found the Diaz sisters collaborating with contemporary jazz great Kamasi Washington, who contributes saxophone lines that mange to be mournful, outraged, proud, bold and riotous — within a turn of a phrase. The song is inspired by one of the most outrageous and humiliating experiences of Lisa-Kainde Diaz’s life — she was was wrongly arrested by French police for a crime she didn’t commit. Throughout the song is a sense of fear, knowing that the police could practically do anything they wanted without reprisal; of righteous rage that’s palpable yet impotent in the face of a power that can crush you at will; of the burgeoning recognition that you can never escape racism or unfair treatment; and the shame of being made to feel small and worthless while knowing that it’ll happen repeatedly throughout your life. As Lisa Kainde explains in press notes I was writing Deathless as an anthem for everybody!” For every minority. For everybody that feels that they are nothing, that feels small, that feels not cared about and I want them to listen to our song and for three minutes feel large, powerful, deathless. I have a huge amount of respect for people who fought for, what I think, are my rights today and if we all sing together  ‘we are deathless, ’they will be living through us into a better world.”

Just the other day, the Diaz sisters made their major television debut performance on Late Show with Stephen Colbert, which features the Harlem Gospel Choir and Isaiah Barr of Onyx Collective on the last day of Black History, as a fiery and passionate reminder of the plight of black folk across the African Diaspora. 

Video by William Ruben Helms

New Video: JOVM Ibeyi Returns with Highly Symbolic Visuals for Their Soulful and Swaggering Collaboration with Kamasi Washington “Deathless”

Now, if you’ve been following me on Instgram, Twitter and/or Facebook you’d know that the past 24 hours or so for me in the JOVM world have been insane and ridiculous amount of debauchery — thanks in part to attending High Waisted’s High Waisted at Sea 4. There’ll be more on that show at some point in the future, as I have to catch up on a shit-ton of photos, posts and correspondence. But more important, let’s get to the important business of the day, right? 

Over the past three or four  years, the French-Cuban twin sibling duo Ibeyi (pronounced ee-bey-ee) have become both internationally applauded and JOVM mainstays. And as you may recall, the duo comprised of Lisa-Kainde Diaz and Naomi Diaz drives their name from the Yoruba word for twins — ibeji.

But perhaps more important, the Diaz sisters are the daughters of renowned percussionist Anga Diaz, best known as a member of Buena Vista Social Club, and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. Anga Diaz died when Lisa-Kainde and Naomi were 11, and upon his death, they studied Yoruba folk songs and the cajon, an Afro-Carribean drum, which their father had specialized in throughout most of his musical career. 

Interestingly enough, while Yoruba is primarily spoken throughout Nigeria and Benin, it’s been spoken in some fashion in Cuba since the 1700s when the slave trade brought Africans to the Caribbean. And when the Diaz sisters began studying their late father’s musical culture and heritage, it gave them a greater understanding of him and where he came from, but it also put them directly in touch with their ancestral history.  Unsurprisingly, the Diaz sisters’ self-titled full-length debut, which was released to critical praise back in 2015 thematically deal with the past — the loss of their father, their relationship, their father’s and their own origins and roots; in fact, their sound and aesthetic managed to seamlessly mesh contemporary electro pop, hip-hop, jazz, the blues and traditional Yoruba folk music in a way that reminded me quite a bit of Henry Cole and the Afrobeat Collective‘s Roots Before Branches in the sense that both albums conscientiously made a deeply spiritual and musical connection between the African Diaspora in the West and the motherland. 
Now, up until recently some time had passed since I had written about the Diaz sisters but as it turns out, they had spent the better part of last year writing and recording the material that would eventually comprise their highly anticipated sophomore, full-length effort Ash, which is slated for a September 29, 2017 through  XL Records. The album’s first single “Away Away,” lyrically and thematically focuses on accepting pain as a part of life, and recognizing that it’s a necessary part of life, while celebrating life for its complicated entirety. Of course, sonically speaking, the track further cements their  reputation for resoundingly positive messages sung with their gorgeous harmonizing paired with slick and swaggering electronic production. However, the material overall reportedly finds the Diaz sisters writing some of the most visceral, politically charged material they’ve released to date — and while being firmly rooted in Afro-Cuban culture and history, the material thematically centers on the present — who the Diaz sisters are now, after a year in which the world has turned upside down, and issues of racial, gender and sexual identity are at the core of our most vexing political issues. 

“Deathless,” Ash’s second and latest single finds the Diaz sisters collaborating Kamasi Washington, who contributes a saxophone lines that mange to be mournful, outraged, proud, bold and riotous — within a turn of a phrase. Thematically speaking, the song is inspired by an outrageous and humiliating experience Lisa-Kainde had when she was 16 — she was wrongly arrested by French police for a crime she didn’t commit. Throughout the song is a sense of fear, knowing that the police could practically do anything they wanted without reprisal; of righteous rage that’s palpable yet impotent in the face of a power that can crush you at will; of the burgeoning recognition that you can never escape racism or unfair treatment; and the shame of being made to feel small and worthless while knowing that it’ll happen repeatedly throughout your life. As Lisa Kainde explains in press notes I was writing Deathless as an anthem for everybody!” For every minority. For everybody that feels that they are nothing, that feels small, that feels not cared about and I want them to listen to our song and for three minutes feel large, powerful, deathless. I have a huge amount of respect for people who fought for, what I think, are my rights today and if we all sing together  ‘we are deathless, ’they will be living through us into a better world.”

Sonically speaking, the song pairs the Diazes’ gorgeous, bluesy singing and harmonizing with an uneasy yet ambient production consisting of whirring electronics, stuttering boom bap-like drum programming, punctuated by Kamasi Washington’s imitable horn sound. 

Directed by Eric Morris, the recently music video features highly symbolic visuals as it features the Diaz sisters giving birth to their dopplegangers in a what that resembles Russian nesting dolls — and naturally, it emphasizes the continued struggle for minorities and women to get a fair spot at the table. 

Video by William Ruben Helms

New Video: Ibeyi Returns with Triumphant and Joyous Visuals for “Away Away”

If you’ve been frequenting this site over the past three or four years, you may recall that I’ve written quite a bit about the critically applauded French-Cuban twin sibling duo, Ibeyi (pronounced ee-bey-ee). Comprised of Lisa-Kainde Diaz and Naomi Diaz, the sibling duo’s name is derived from the Yourba word for twins ibeji — and interestingly enough, the Diazes are the daughters of Anga Diaz, best known as a percussionist for the world famous Buena Vista Social Club, and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo.
Anga Diaz died when the Diaz sisters were 11 and upon his death, they studied Yoruba folk songs an the cajon, an Afro-Caribbean drum, which their father had specialized in throughout most of his musical career. Interestingly, while Yoruba is a dialect primarily spoken throughout Nigeria and Benin, it’s been spoken in some fashion in Cuba since roughly the 1700s when the slave trade brought Africans to the Caribbean. And in some way, it would seem that when the Diazes started studying their father’s instrument and his musical culture, it gave them a greater understanding of him, his music and their ancestral past. And with the release of their 2015 self-titled debut, the Diaz sisters quickly gained an international profile for a sound that draws from contemporary electro pop, hip-hop, jazz, the blues, and traditional Yoruba folk music in a fashion similar to Henry Cole and the Afrobeat Collective‘s Roots Before Branches; in fact, much like Roots Before Branches, Ibeyi’s work makes a musical and deeply spiritual connection between the African Diaspora here in the West and with Africa that’s both modern and incredibly timeless.  

Now, it’s been a couple of years since I’ve last written about the Diaz sisters, but after touring to support their self-titled debut, the sisters spent the better part of 2016 writing and recording their highly-anticipated, yet still untitled sophomore effort, slated for release through XL Records later the year. And the album’s first single “Away Way” will further cement their growing reputation for pairing slick and swaggering, contemporary electronic production with the Diazes’ gorgeous harmonizing and resoundingly positive and resolute messages, complete with traditional Yoruba chanting.

As Naomi Diaz explained in an email to the folks at The FADER, the song “reflects on at time when Lisa was gazing out her window and thinking about the permanent follow of creation and destruction.” Her sister Lisa-Kainde adds “We are witnesses of the world’s craziness (which is sonically symbolized by the sirens in the track) and we wonder if the promises of better days will be kept. The chorus of ‘Away Away’ represents a burst of positive energy, us taking a conscious step towards movement and action because only the people can make good on that promise. The song culminates with a Yoruba chant for the Orisha Aggayu, a ferryman known for providing strength. Aggayu in nature ignites a violent eruption of volcanos, however, with the intention that the lava ultimately refertilizes the soil to create new life.”  Lyrically and thematically the song focuses on accepting pain as a part of life, and recognizing that it’s a necessary part of life, while celebrating life for its complicated entirety. 

Directed by Christian Beuchet, the video features the Diazes goofing off dancing, singing and immersing themselves in the song’s positive energy and throughout the entire video they radiate an infectious, mischievous joy and comfort within each other. 

Video by William Ruben Helms

New Video: The Breezy Tropicalia of Santiago de Cuba’s Septeto Santiaguero

With the release of 8 full-length albums, the 3 time Cubadisco Award-winning, 2 time Latin Grammy-nominated Santiago de Cuba-based septet Septeto Santiaguero have developed an internationally recognized profile for a sound that draws from the […]

Video by William Ruben Helms

New Video: OkayPlayer Catches Up with French-Cuban Sibling Duo Ibeyi For an Acapella Rendition of “Ibeyi (Outro)” in Central Park

Deriving their name from the Yoruba word for twins, ibeji, electro pop act Ibeyi (pronounced ee-bey-ee) are comprised of 19 year-old French-Cuban twin sibling duo, Lisa-Kainde Diaz and Naomi Diaz, who come from a rather […]

Uncategorized by William Ruben Helms

Ibeyi (pronounced ee-bey-ee) take their name from the Yoruba word for twins — ibeji and are comprised of 19 year French-Cuban twin sisters, Lisa-Kainde and Naomi Diaz. The Diaz sisters are the daughters of the late and renowned Cuban […]

Uncategorized by William Ruben Helms

Comprised of 19 year French-Cuban twin sisters, Lisa-Kainde and Naomi Diaz, the duo of Ibeyi (pronounced ee-bey-ee) take their name from the Yoruba word for twins – ibeji. The Diaz sisters are the daughters of the […]