We pretty much reached a consensus halfway through the album, that wrapping it up at that point would be leaving the story unfinished. And unfinished stories are seldom memorable, for the most part.

Most probably after laying down the vocals for “2 B In love”, (all of two takes), which was the first track we did. Most of the vocals on the album were done in a maximum of two takes. The subject matter’s quite personal, and going to that place from the outset was cause for a few anxious moments. Though we were both quite pleasantly surprised with the end result on that track.

To capture a collection of snapshots, documenting two perspectives on a common theme.

Deep House became the obvious choice as it adhered to a combination of elements that resonated with both of us at the time. Lyrically, rhythmically, sonically, its’ potential as a vehicle for spiritual expression… It suited our tastes perfectly. We never consciously set out to appeal to a wide audience. More than likely the album appeals to a wide cross section of people who identify with something more than just the Deep House aspects of what we do.

Faith…

I tend to lean towards anything that soothes my soul.

Charlie…

Oh it changes from week to week, moment to moment . Faith can acknowledge quite a few mix cd’s she’s received bearing testament to that.

Inspiration is more often drawn from quite a few non-music related sources. It never announces itself, it just sort of “shows up”. Whenever, wherever. Each genre contributes its own distinctive colour to the palette. We both share the same preferences for certain elements and combinations of those elements in music, more or less.

“Delite” is a variation on the Greek translation of the Hebrew for Eden, meaning delight. It’s also the name of our favourite soft candy, Strawberry Delite.

Charlie…… (production)

I got into House via Hip Hop. With Dj-ing it was all downhill from there. Or was it uphill (lol). I studied sound engineering more as a tool to aquire knowledge of Production and played in several bands, gaining a better understanding and experience of songwriting.

Faith ……..

I got into House music through dance. I was a dancer before meeting Charlie, who gave me more insight into dance music and production.

Oh you can never listen to too much House (lol). Specifically the deeper kind. Of course we have our own personal preferences when not recording, but usually revert to the deep, funk, and soul variations when together.

Charlie……

I play a few. Tunes are usually a slab of marble that gets chipped away at and sculpted, or rough diamonds that need to be cut and polished. That’s pretty much how I approach them from start to finish.

Faith……

House music in South Africa is growing and progressing. There’ve been quite a few new faces emerging over the past while. I think there’re more surprises yet to come.

Charlie…

It appears to be growing. Though one can always count on the Heads to distinguish themselves from the mainstream. Within that context you’re talking about two different kinds of audiences or even movements. It’ll be interesting to see what develops should it take more of a centre stage role. House in South Africa means different things to different people, if one is to take the country’s cultural diversity into consideration. Which in itself, can be both a positive and a negative thing. For me, the future lies in bridging that divide.

Faith……

Firstly, I had absolutely nothing to do with “By The Way…” (lol). Every song on the album has a special place in my heart, but the one I always seem to come back to is “Always”. There’s something very soft and mysterious about it. The way it was put together, the way the vocals work with each other, the message… Deep and brilliant, even if I say so myself.

Charlie…….

Hard to say really. Each one of them occupies a special place. Though I’d have to say that “By The Way…” is on some other level artistically. For one, nothing in it was scripted or planned. Everything Faith does on that track was 100% unrehearsed. The reaction and experience it elicits for me is of a truer art. I’d say the only thing that I’m proud of about that track is giving it back to her as a birthday present without her even knowing about its existence. I still wish I could’ve been there to capture her reaction listening to it for the first time. We were in different parts of the country at the time.

Faith…….

It’s been a great privilege for me to have worked with Charlie. He’d always be at the top of my list. Kem, Phillip Bailey, Yolanda Adams, Gaelle, and the late Luther Vandross are names that would also be on that list.

Charlie……

Apart from Faith of course, I’d say Lisa Fischer most certainly. Les Nubians, Hope Sandoval of Mazzy Star, Hiromi, Andre 3000 to name a few. Or to do a Yacht Rock/Space Soul album with Robert Owens on vocals, Lonnie Liston Smith on keys and backed by the Roots.

That’s a very good question and I’m glad you asked it. Living in Cape Town, over time, one’s art subconsciously begins to reflect its many nuances and contrasts. A 360 degree view of Cape culture will reveal many beautiful, and equally tragic perspectives. In a city where half its citizens are unemployed, these contrasts are more apparent in varying degrees. It’s a vibrant and becoming an increasingly cosmopolitan city, and yet is a city that exhibits a deep and profound sadness woven into its cultural fabric. Upon closer inspection we’d like to think that our music reflects some of this aesthetic. If there’s any outlook that we’d like to project it most certainly would embody something along the lines of “triumph of the human spirit over adversity”. “Innovation and excellence despite the odds”.

There’s so much more that we wanted to do with quite a few of the tracks, but one instinctively knows when it’s enough. Especially when working on an album with so many emotional references. Also, one still can only stick 80mins on a Cd. We could then have decided to do a double album debut and then forever be known for the first ever Deep House opera (lol). We’d rather be known for “Singles” at this stage thank you very much… When one’s particular artistic vision has been realized and cohesion exists between all aspects of an album, you know when you’re ready to put it out. And then hope that audiences will be receptive to it.

There’s no specific genre. If a tune is good, it’s good. Have u ever heard the sound the rings of Saturn emits? Or this stuff called “blue haze” on study audio aides? Does that stuff really work? Sounds like the sound of the ocean to me. Then I’d just go to the beach instead (lol) or stick a shell to my ear. Grooveboxes are great for tweaking sounds. Much like a Reactable, without the display surface area. Or taking road trips through the Cape garden route listening to Vivaldi. Soundtracks are great too. Seu Jorge doing Bowie covers, Yo-Yo Ma, Nigel Kennedy doing (the) Doors covers using the Vietnamese pentatonic scale of Hoi Xuam. Early Detroit techno. World indigenous music. Old time Southern gospel devotionals. Stuff like that…

Faith…….

Before I got into House I was into Jazz. Specifically female artists and vocalists. There was always Jazz playing around the house when I was growing up. I really started discovering the soul aspect of myself singing those Jazz standards I heard and also with certain other bands. Working on “Singles” I discovered another side of myself. A more softer and comfortable side. Though don’t get it twisted, there was nothing easy about working on this album. Jazz gives you a much broader range within which to explore one’s vocal capabilities. With House, less is usually more. There’s a certain side of oneself that needs to be tamed in order for you to hit that House vocal just right. Soul has always been a part of me, just in this case, it’s on record.

Charlie………

I was gonna be the next Chuck D. “Ice Ice Baby” kinda messed it up for everyone after that. Discovering Motown after that flipped it for me. The sound, the songs, the look… Some folk will attribute negativity to Berry Gordy for some of the ways he handled his artists and label, but up until that point the world had never seen Black music presented in quite that way. Stylish, sophisticated, polished. Alot of the artists’ that emerged out of the Blaxpliotation era and those Gamble & Huff records as an extension of that era was what set me off though. Even when I picked up the Bass for the very first time, I was more interested in approaching songs rhythmically from a soul perspective sonically. Soul basslines over three chord Rock progressions. It was that outlook that helped shaped my approach to what Miles Davis termed “controlled cool”. The ability to get to the heart of the matter and hold it down, there. The rest were just for decoration. Early Electro and 80’s Rn’B, it was those elements that shaped a lot of the Deep House aesthetic for me. I worked on a bunch of stuff that I keep archived that’ll probably never see the light of day. It was only until “Singles” that I felt I was ready to put anything out.

We both have our own interests outside of music but we’re set on recording the next Delite album, developing our live performance, and building the Metrocom label. It’s been an interesting ride so far and we’re excited about what the future could hold for Delite.