Inside The Credits 001: Inflo
Inflo & His Nostalgic Contemporary Community of Virtuosos
My introduction to Inflo, was via his co-production (alongside producer Danger Mouse) on alternative soul singer-songwriter Michael Kiwanuka’s self titled third album, Kiwanuka. On Kiwanuka’s opus there is a subtle yet stark shift within the body of work, separating it in quality from his previous two albums. It would lock Kiwanuka into a nostalgic contemporary arrangement that made me think I’d finally heard him at his most inventive and true to his core artistry potential. This is the Inflo effect.
My discovery may vary to other enthusiasts' initial awareness of Inflo’s music production and influence likely stemming from one of three places: British incisive MC Little Simz’ discography, the background of Cleo Sol’s sonic portraits, or the collective Sault’s mystical array of albums for which he produces at the helm. Kiwanuka, who initially became known as a sort of Otis Redding British reincarnate, was always an enticing listen from his introduction into the musical sphere in 2012. He and producer Paul Butler brought in a sound riddled in timely nostalgia to 70’s soft soul, which grabbed eardrums like a burnt yellow and sepia toned photograph can grab eyes. Then he linked with Danger Mouse as well as Inflo in 2016, while still collaborating with Mitchell, and shifted into more forward pushing and grand cinematic sounds. This resulted in his smash single “Cold Little Heart” which expanded his fan base, living as the opening credit music for the HBO mini series Big Little Lies. Yet still, he hadn’t quite sunk into a seamlessly inventive pocket for a full project. He was caught between two worlds. Then came Kiwanuka in 2019, an extension of his 2016 solely Inflo produced track “Black Man In A White World,” adding 70s psych rock and modern pop-ballad textures. There was still the grandiose quality to the music as if it could live in a film score, yet it remained grounded and dusty to evoke Kiwanuka’s wistful busker essence.
Michael Kiwanuka - Piano Joint (Lyric Video)
Kiwanuka was my favorite album of 2019 and has proven to be one of my favorites I’ve ever laid ears upon. I naturally looked into the production crediting of the project when I first discovered my enthrallment with it and traced the Inflo/Danger Mouse history with Kiwanuka. They co-produced the entire project, just the two of them. At the time, I credited both producers equally with its mastery (and probably still should), yet, as I continued to follow Inflo’s musical output, it became clear that the way that sound was delivered followed his other work more directly.
The birth of the prowess of Inflo, according to crediting, happened over the entirety of the year 2019. Earlier in the year, before Kiwanuka, came Little Simz’ GREY Area. On Inflo’s Instagram, his second post ever features him announcing his executive production on GREY Area, seeming to be his first time ever announcing himself in that role. The post before that is from August of 2018. It features a striking cover artwork for Inflo’s first and only solo single “No Fear” which shows a dashiki wearing child drumming alongside the now King Charles. It marks a courageous dive into chopped vocal samples mixed with 70’s soul/rock sounds and various African drum rhythms. His name is written on the artwork as a stamp, metaphorically marking his sonic territory. This single and post seem like the pass into the alley ooped dunk of 2019 where his two projects he led the sound within would reverberate.
Inflo would go on to executive produce two more albums after GREY Area for Little Simz, co-aligning to find the pathos of her sound. There is no way to prove this comparison but it almost seems as if Inflo took the Michael Kiwanuka three album trajectory and instilled it into the Simz progression (not to mention Kiwanuka features on the closing track of GREY Area “Flowers”). GREY Area hinges on a core influence that shines light on a virtuosic voice. The grungy and dark yet assertively smooth (North London mirroring) minimalistic canvases allow for Simz to verbalize her hunger for story listeners and a breakdown of misogynistic rap barriers. Then on her and Inflo’s 2021 followup Sometimes I Might Be Introvert, the duo take you through a cathedral of flashing euphonious instrumentals. Simz becomes the larger than life capturer of emphatic emotional rollercoasters. They craft her highly saturated blockbuster. Yet, in their late 2022 round third release No Thank You, Inflo and Simz find the purest happy medium. Her opus takes all the symphonic elements of Sometimes I Might Be Introvert and organically collides them with even more introspective depth filled industry, self, and societal analysis. They also bring the boom bap back and weave it between everything cinematic so the album never loses its groundedness. These are only two prongs of Inflo’s community building superpower reaching its maximum potential.
Little Simz - Gorilla (Official Video)
There’s a few splatters of paint to be found in the credits revealing multi-faceted elements of Inflo’s influence on compositions before we reach the final two massive pieces of his puzzle. First we must jump back in time before he slid into his modern era with a few credits that existed before his 2018 solo single. Luke Pritchard, the longtime producer of the UK Alt Pop/Rock band The Kooks tapped Inflo for co-production on the band’s 2014 album Listen. There’s anthemic elements that seem as if they could have led to some later Simz (and to be mentioned Sault) production and his main credits in percussion and synthesizer show the roots of his main production strengths. The first ever Inflo credit however, seems to have direct connection to a later collaboration. Pop/R&B female vocal powerhouse Jordin Sparks’ 2011 single “I Am Woman” marks Inflo’s first co-production alongside Pop super producer Ryan Tedder. Tedder would go on to produce on Adele’s 21 and 25 albums, while Inflo would be tapped by the fellow North Londoner for three songs on her most recent album 30. For The Face magazine Adele said, “He’s like the calmest person I’ve ever met, a really amazing, spiritual guy.” Inflo’s God centered art leads to two of his most prominent offerings that have defined his career thus far.
Inflo has executive produced the most bodies of work for his partner Cleo Sol (4) and his collective Sault (12). Sol came first, preceding his outburst in 2019 even, with she and Inflo’s March 2018 Winter Songs EP. You can hear them working through their influences for creation within arrangements riddled with potential. Then once again, mixed with Inflo settling into his purpose on “No Fear,” he finds an essential pocket with Sol. Rose In The Dark is arguably the most time stopping release in the year when time seemed to slow down. Late March 2020 leading right into the pandemic was laced with romance laden musings caught between 60s and late 90s soft R&B tones leaning into progressive sensually swaying pockets. There’s an openness in Inflo’s R&B textures here that has quietly driven the sound of the genre for the past three years. His continued panache beneath and surrounding the peering sunshine of Sol’s vocals on the following albums covering motherhood and faith show a distinct understanding of where the world has needed her sound to take them. Their musical partnership is constantly described as meditative, soothing, or centering at a time when many try but none can touch that feeling listeners crave.
Cleo Sol - Butterfly (Official Video)
Sault is both an extension counterpoint to Sol and Inflo’s harmonious faith-led sound.
The collective has put on their first live show recently reimagining the venue Drumsheds into a mystical oasis. Kiwanuka, Simz, and Sol were joined by Chronixx and Jack Peñate who each have solo offerings within the Inflo production credits to make your ear jump. Then their stardom extended into choirs, silhouettes, hidden orchestras and bands, and fashion shows seemingly all put together by prodigal artists. Inflo’s veiled presence almost hints at a status of cult leading. He has never been interviewed, has only been the interviewer recently of Sol for her Dazed cover story where a journalist wasn’t given the opportunity to ask questions. One thing that’s for sure though is through Sault the music does the talking. A mixture of given away, streamable, and disappearing albums spanning Alternative, Soul, Gospel, Dub/Reggae, Classical, Hip Hop, and even Punk expressions all seem to have a higher power throughline. Sault’s website still reads “These are five albums released as an offering to God,” stuck from a 2022 surprise release. Their label is entitled Forever Living Originals as if they span time that’s past and to come with the virtuosity inherent within their faith driven sounds. The question unanswered by interview or credits is, has Inflo organically grown into a sonic and spiritual leader or is it something he positioned himself as?
If his name means anything, my hope filled deduction is that he’s just in flow.
Inside The Credits 001: Inflo- The Playlists