Creative process behind Themba the process.

Themba the process (album art cover) 01/10/2025

Creating this album was a significant milestone in my life, where I truly understood what it means to identify myself as an artist. I have learned how to find my identity in Christ, enabling me to evangelize my faith in God through music, art, and fashion.

The album contains 6 songs because I realized that less is more. This perspective encourages listeners to engage with each song more attentively and appreciatively, due to the brief time commitment. Nowadays, music isn't valued as much because artists often release albums with 20 to 30 songs, where only about 5 become favorites, while the rest are considered filler.

The first song, titled Jesu Khresto, was created when I began exploring Christian rap. I was always intrigued by the idea of pioneering a South African sound influenced by genres like Kwaito and Afro house. When I came across this sample from Flex, the producer who sent it to me via WhatsApp, it inspired me to further develop the production. The recording session took place in Midrand at Flex's studio, with my producer Skamza, who had produced most of my previous songs, accompanying me. Creating the song took longer than anticipated due to technical difficulties with the sound equipment, but we ultimately perfected it. A guitarist played the bass and string chords for the chorus, while Skamza added percussion with a Kwaito flair, giving the song a groovy feel. Flex enhanced the lockdrum that featured throughout various parts of the track. Before long, the production was ready, and I stepped into the booth, hit record, and the rest is history.

The second song, titled "Gentleman," was created during a time when I encountered an incredible producer named TswanaLog. I met him at a recording session hosted by Universal Music for the second time, but it was through a mutual close friend and talented Afro-pop vocalist, Buntu Zuri, that I got to know him. Once we exchanged numbers, I knew it was time to take the first step and arrange a session. To facilitate this, I set up a group chat for a production team consisting of three composers—TswanaLog, Mvedala Soul, and Xis-Aug—and myself as the author/executive producer. This allowed us to get acquainted and start preparing the album for 2025. On the production day at TswanaLog's bedroom studio in Midrand, I led the team by having him compile five of his recent beat samples. We then voted on which would be the best to record. Interestingly, each sample was so good that choosing was difficult. The official selection wasn't our initial pick until Xis-Aug convinced us that it would be perfect for a performance. We then decided to expand on the production, working on the song all day to perfect it. Xis-Aug began with the keys, leading into the nostalgic beat sample TswanaLog had produced, while Mvedala Soul added bass and percussion with a touch of lockdrum to give it a Kwaito feel, which I loved and felt should carry the important parts of the song. Xis-Aug, the pianist, brought a soulful sensation to the sound, warranting a solo on the bridge. Once the production was complete, I was ready to get on the mic and create one of the best songs on the album.

The third song, titled "Shintsi Izinto," caught my attention from a beat sample shared in our WhatsApp group chat. Among the five beat samples produced by Mvedala Soul, we all coincidentally voted for this particular one to become the official song, as it resonated with us through its groove. It featured an Amapiano sound that captured the essence of the genre during its peak when it was locally recognized. This inspired me to write from a perspective influenced by the late artist Mpura Mpura, who was an emerging vocalist at the time. We proceeded with a session on a Sunday afternoon, arranging the beat to include two verses, two bridges, and three choruses, along with a skit by Buntu Zuri and keys by Xis-Aug. Surprisingly, the production process was efficient enough for us to finish recording before sunset. During the recording, I was so immersed that I had no idea how the final production would turn out. Listening to it later gave me goosebumps, preparing me to share it with the world.

The fourth song, "Semzini," was an unexpected discovery when I checked TswanaLog's WhatsApp status and saw him vibing to the beat in his bedroom studio while working on it. As soon as I heard it, I replied to his status, trying to tell him that the beat was meant for me. He was speechless, as he had created the beat with Buntu Zuri in mind. I then reassured him to consider featuring Buntu Zuri instead, and with some persuasion, he agreed. I wrote this song while Buntu Zuri, Xis-Aug, and I were in Durban for a week-long church conference held by the Church Of The Holy Ghost. We stayed at a

hotel near the beach, and it was late at night when I wrote the song, inspired and interpolated by a hymn of praise we sang during the conference. The verse reflects my experiences at the conference, and hearing the full production made me fall in love with my approach to this emerging subgenre we call 3-Step, which has never had a rap vocalist before. The excitement of making history with this sound made me realize how authentic this song will be for afro house music lovers.

The fifth song, Behold, emerged as I was considering the next track to follow the fourth song. I realized there was a melody from one of the five beat samples Mvedala Soul had shared in the Whatsapp group chat that resonated with the sound I wanted to develop, influenced by the 3-Step subgenre. I contacted Mvedala Soul via Whatsapp and mentioned the beat sample, expressing my desire to create a slowed-down tempo of a 3-Step sound. He found the idea challenging, as it was unprecedented, but embraced the challenge and began working on it during a Sunday afternoon session. I unexpectedly arrived late that evening from a soccer match with Buntu Zuri to finish recording the fourth song. By our arrival, Mvedala Soul had already left, leaving us with a brand new hit. I then dedicated a week to writing for it, preparing for the next recording session with TswanaLog. When the session came, I noticed the beat lacked some 3-Step elements that would reinforce the pioneering sound. TswanaLog enhanced it with high hats and harmonies, giving the song an angelic feel and added an impressive verse that outshone mine, leading me to focus on singing the bridge and chorus. This song became the project's standout, feeling like both the end and the beginning of such a body of work.

The bonus track that resonated with me captures my reflections and viewpoint as a Christian living in the world but not conforming to its ways. We discovered this song when TswanaLog and I realized we needed a track to fully complete the album. He played me some of his recent beat samples, and we found one that evoked a sense of nostalgia. Upon hearing it, I knew I was meant to rap and express my thoughts poetically, which took me a week to write. When I recorded it in one take, TswanaLog was impressed by my approach, which included no chorus and featured precise improvisation at the end. I then revealed that it was his verse on the fourth song that inspired me. Writing this song felt like painting my thoughts and emotions onto a canvas, which is why it was titled "Oil on Canvas."

Reflecting on the entire body of work, I realized the immense dedication I put into prayer, meditation, and reading the Bible to witness the success of its release. This is undoubtedly the project I am most proud to have been involved in. It is by God's grace that He has blessed me with the ability to evangelize His Word through music, allowing this work to serve as a prophetic message to the world.

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