Inside The Credits 027: Ozedikus
A Full Summer Playlist From The Boards of Ozedikus
It’s “song of the summer” time and the debates have flared up tremendously. I definitely like a lot of the options this year and unabashedly get my spirits lifted when I hear “Get It Sexyy,” “Attitude,” “Million Dollar Baby,” or “Not Like Us” specifically. Around this time of year though, there are also always songs that get me really hyped which aren’t getting played at every function or appearing on “song of the summer” lists. One of those tracks this year is “Onome” by Odeal. After a brief hiatus from his Alté sound last year, for his pure r&b album Thoughts I Never Said, the UK crooner has returned now to his old proficiency. “Onome” is a rolling rumination on dancefloor and lifestyle chemistry where Odeal displays equal prowess in pattery free flowing melodies and intentional silky croons. His effortless feeling delivery is only possible with the sleek pocket provided to him by producer Ozedikus.
On streaming services I couldn’t actually find Ozedikus’ crediting on the track so I had to tweet at Odeal to get the info. He swiftly tagged him in response to my comment and my deep dive was jumpstarted. What Ozedikus captured on “Onome” is a complete understanding of the natural crossover between African rhythms like Afrobeats and Amapiano and UK Contemporary R&B. He does this specifically through the sequencing and sultriness of the key/synth sounds bringing Odeal’s most indulgent soulful croons to the pulsating drums with ease. I looked and listened back through Ozedikus’ credit history to find where this capacity began.
This was one of the most enjoyable credit dives I’ve done via this platform as it blossomed into a perfect summer playlist. Ozedikus has been producing smooth Afro R&B since 2018 resulting in an over 70 track catalog that bends and winds but never leaves that perfectly slick pocket to play at a summer function. The most Ozedikus has ever produced for a body of work is four songs so the playlist is constantly in motion tonally. New sounds will surprise and intrigue but never throw you into a new space entirely making it ideal for mood crafting. At any given moment an Ozedikus song can be played in the party background, result in a dance floor full of wines, or evoke a sauce filled dance battle sans aggression. This superpower is a pleasure to chronicle.
One lone credit in 2018 for an artist named Nos on his single “Secret” began Ozedikus’ career. I could only find the track on Tidal which is a bit odd but nonetheless it shows this producer’s affinity for the vivaciously smooth right from the jump. He propels sly and glossy vocals atop repeated tropical Afrobeat textures. Propelling off of this first song, Ozedikus got right into working with eventual star vocalist Rema on his first ever Ep as well as Nigerian crooner Bad Boy Timz for four songs on his 2019 Ep Timz. Many of these songs still thrived on repeated simplicity and a focus on uplifting pattering melodic flows from top tier African crooners. However, on Timz’s track “Number One” is where you first hear real adjustments being made to fuse Afrobeats into a more pure R&B space. Not only does the song feature sprawling smooth synth work, which builds alongside pristine vocal layering, but it also has quintessential electric string transitions that feel directly linked to a mid 2000s r&b style from artists like Mario, Ne-Yo, and Omarion. Ozedikus had begun to find his sweet spot.
This would lead to a barrage of credits for the producer in 2020 and 2021. He would produce for melodic stars like Rema, Tiwa Savage, and Spinall, but also add rappers to his catalog like Ladipoe. This section of Ozedikus’ production history also introduced me to more new music I will go back to in my search than maybe any other in my 27 weeks doing Inside The Credits. The juxtaposition of dub guitar with gliding drums on “Kpano” by Crayon, the simple luminescence on “Mi Casa Su Casa” by Korede Bello, and the blend of vocal samples and subdued sultriness on “No Time” by Mmzy outline just some of the many highlights.
Everything Ozedikus had been working for, however, culminated in 2022 via his most surefire hit record to date spurred by an unforgettable Colors + Studios performance. “Ku Lo Sa” by Nigerian slick singer Oxlade is one of the greatest Afro Pop R&B songs I’ve ever heard. Many likely credit the the success of this record to the intoxicating vocal prowess by Oxlade, but an underrated essential element is the descending synth that lifts him to the stratosphere. It not only provides the most crucial melodic element instrumentally, allowing Oxlade to croon how he does, but it also acts as the song’s pulse even though it’s understated. The song is so dope, in fact, that a year after its release Pinkpantheress sampled it for arguably the best song on her debut album “Feel Complete.”
For the rest of 2022 and 2023, Ozedikus had a second flurry of credits for many artists I hadn’t heard of that I will be going back to frequently. This time it was his specific work with a singular artist though that really caught my ear: Ema Onigah. His work with him on three songs, the fervent “Playful Someone,” the driving “IF,” and the lustrous “DEY SO,” showed not only Ozedikus’ Afro R&B dominance, but also his developing affinity for capturing yearning. Onigah seems to have helped awaken a new ability: still remaining smooth while outwardly reaching for desire rather than just sitting in a vibe.
This all finally brings us to now, and Odeal. Ozedikus has begun releasing songs in 2024 where he is listed as the primary artist in addition my personal song of the summer “Onome.” He has grown into such a prominent producer in his sphere that he refuses to just sit behind other artists and only remind us of his prowess through his captivating producer tag “Ozedikus Mandem.” His most recent track “Belle” with CupidSZN adds in even another impeccable genre connecting sound: a meditative wooden flute.
Inside The Credits 027: Ozedikus- The Playlists