Happy 30th Anniversary to Deee-Lite’s second studio album Infinity Within, originally released June 23, 1992.
Like some of the best origin stories in pop, the formation of Deee-Lite simply came down to a stroke of serendipitous good fortune. No more, no less. In 1986, just a few years prior to the release of their widely acclaimed debut effort World Clique (1990), this beloved troika started out as a duo comprised of disc jockey, programmer and instrumentalist Supa DJ Dmitry (Dmitry Brill) and singer, lyricist and clothing designer Lady Miss Kier (Kierin Kirby).
Brill hails from the former Soviet Union territory now known as Ukraine, whereas Kirby’s roots can be traced back to the Midwest and Northeast regions of the United States. As luck would have it, their paths crossed in the vibrant nightlife realm of the Big Apple; a creative and romantic partnership quickly emerged. By the time the pair intersected with producer and vinyl fetishist Dong-hwa Chung—better known as Towa Tei—Brill and Kirby had garnered a reputation within the New York City discos and art communities at the end of the 1980s.
Chung, like Brill, was an immigrant too (Korean-Japanese) and had come stateside to find his muse. Unsurprisingly, a fast friendship and alliance ensued between the three individuals. They soon began tasking at the sound that defined World Clique. Spearheaded by the smash hit “Groove Is In the Heart,” Deee-Lite flexed considerable dance genre chops, but their abilities extended well beyond that musical sphere.
Deee-Lite incorporated elements of (then) modern hip-hop, pop and classic R&B with a decidedly kooky visual twist. The eclectic trio were underground and mainstream, old school and new school—in short, they were the moment and more. Even better, Deee-Lite weren’t some fly-by-night studio concoction. Having cut their teeth as a live act in the New York club scene, when the time came to stump for World Clique, they did so as solid stage performers.
The pressure was on to see if lightning could strike twice with their follow-up, the ambitiously denominated Infinity Within. Thanks to the gold-selling success of that first offering, Deee-Lite had carte blanche in drafting this anticipated sophomore outing exactly as they envisioned it. Once again, writing-production duties were democratically split between Kirby, Brill and Chung; eleven of Infinity Within’s fourteen selections came exclusively from Deee-Lite.
Hip-hop soul troupe Arrested Development, emcee Jamal-ski, Michael Franti (of the Disposable Heroes of Hiphoprisy) and songwriter Danny Madden wrote with Deee-Lite on “I.F.O. (Identified Flying Object),” “Two Clouds Above Nine,” and “Fuddy Duddy Judge,” respectively. In addition to scripting with the group, three of those four acts performed alongside Deee-Lite on these jams too. Arrested Development also provided a plush African chant at the conclusion of “Come On In, the Dreams Are Fine.” All of this activity highlighted Deee-Lite’s enthusiastic, collaborative nature, but never pulled focus from their own vision.
It was in this spirit that Deee-Lite requested the services of a very specific crew of distinguished session hands to bring their material to life: the Collins Brothers Bootsy (guitar, bass guitar) and Phelps (rhythm guitar), Gary “Mudbone” Cooper (backing vocals), Robin Lobe (percussion), Maceo Parker (brass), Misha Masud (tablas), Sahirah Moore (backing vocals), Zhana Saunders (backing vocals), Sheila Slappy (backing vocals), Satoshi Tomie (piano), Fred Wesley (brass), Bernie Worrell (clavinet). Many of these names induced awe and wonder for those in the know and with good reason.
Deee-Lite’s well-rounded pop-funk hybrid referenced everything from James Brown, The Emotions, Teena Marie and Lipps Inc. as throwback touchstones. They needed the proper musicians to render this new stock in living color, especially given the luxurious vibe they were crafting here—in the interest of growth, of course. Three songs—“Runaway,” “Heart Be Still” and “I Won’t Give Up”—captured this established retro-modernist aesthetic perfectly. Whether it was a brass flourish, a percussion fill, a daring synth passage, or a trippy loop, Brill and Chung laced tracks with these and other sonic treats. Repeated listens revealed these rich details to the attentive ear.
Still, Deee-Lite’s predilection for elaborate dance tunes remained strong with the pieces “Electric Shock” and “Thank You Everyday,” which could be enjoyed in a nightspot or in the comfort of one’s own home. A confident, capable stylist, Kirby stirred much passion on these two entries and the rest of this collection with her inimitable sugar-and-spice tone. Two particular sides revealed a fresh, sultry vocal peak for the singer: “Pussycat Meow” and “Love Is Everything.” The latter composition was a Deee-Lite first: a ballad!
Topically, Infinity Within gracefully balances escapism and politics, not always an easy task. From the beginning, Deee-Lite had not been shy about speaking out on current events and this record held some of their most declarative statements yet with “Vote, Baby, Vote,” “I Had a Dream (I Was Falling Through a Hole in the Ozone Layer),” “Fuddy Duddy Judge,” and “Rubber Lover.” Everything from taking up one’s civic duty at the ballot box, environmentalism, institutional reforms and safe sex are succinctly put across on this quartet. That these subjects are as relevant now evince Deee-Lite’s prescience to broach them three decades ago.
Taking another pioneering leap forward with Infinity Within, the three-piece packaged the project in an “eco-pack” (or digi-pack)—it was one of the first of its kind. And amid the delightfully pulp kitsch and fashion-forward art direction of Infinity Within’s cover—conceived by Kirby, designer Mike Mills and photographer Joshua Jackson—Deee-Lite scrawled certain notes on the sleeve jacket: “Let’s face it, it’s a pro-choice album!” and “Earth Lovin’!” Despite access to the upper echelon of the music industry, Deee-Lite hadn’t lost their progressive positions post-World Clique. With a portion of record sales going toward Greenpeace, they put their money where their mouth was.
The stage was dressed for Infinity Within to be one of the major musical events of 1992; radio and retail got a taste of the long player via “Runaway” in the spring. The single went down like a storm in clubs and with knowing pop aficionados, but general audiences strangely did not bite. It was a portent of the critical and commercial indifference laying in wait for Infinity Within after its issuance that June. Elektra Records greenlit “Thank You Everyday” and “Pussycat Meow” to go out as successive singles after “Runaway,” but neither revived the LP.
A persistent criticism lobbed at Deee-Lite regarding Infinity Within was that it was too ambitious, too self-indulgent. It was an incorrect assessment, but one they took to heart nevertheless when getting down to the brass tacks of construction for Dewdrops in the Garden (1994). Adopting a sort of back-to-basics approach, Deee-Lite’s third (and ultimately final) set saw their roster simultaneously contract (with Chung’s departure) and expand (with Ani “DJ On-E” Schempf’s arrival). Disbanding in 1996, Deee-Lite’s founders moved on to various endeavors with Chung maintaining the most visible profile. In the three decades since their rise, their influence has held fast.
That signature Deee-Lite flavor is noticeable in the works of Jamiroquai, Kylie Minogue, Black Eyed Peas and Doja Cat (to mention a few). The endurance of the trio’s three studio albums is proof that quantity doesn’t denote quality. But go deeper. World Clique and Dewdrops in the Garden might play more to dance floor expectations, yet neither managed such an intoxicating blend of melody and groove as Infinity Within did. Its stature amongst pop genre adherents continues to grow, speaking to the possibility of Deee-Lite being too advanced for record buyers of the period.
For an act who had their finger on the pulse of the present, reverence for the past, but an eye always cast toward the future, the resonance of Infinity Within today feels just right.
Enjoyed this article? Read more about Deee-Lite here:
World Clique (1990) | Dewdrops In The Garden (1994)
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