iNFO has crafted a unique identity that appeals to electronic music enthusiasts by drawing inspiration from the early Intelligent Dance Music (IDM) sound, the pulsating rhythms of Detroit techno, and the rhythmic energy of electro.
A rich tapestry of albums and compilations
Michael Robinson, notably recognized in the electronic music scene as iNFO, was born in 1975 in the vibrant city of Sheffield, UK. His musical journey began in his formative years, deeply influenced by the electronic sounds emanating from his hometown, the pulsating beats of hip-hop culture, and the captivating melodies of Detroit’s electronic music scene. Finding his niche in 1992, iNFO began his residency DJ career at the Hypnosis Centre and Red Zone. This event initiated a process that would establish him in contact with the early pioneers of the United Kingdom techno scene, thereby laying the groundwork for his future contributions to the electronic music scene.
Midway through his forties, iNFO made the decision to begin a personal production career. iNFO has crafted a unique identity that appeals to electronic music enthusiasts by drawing inspiration from the early Intelligent Dance Music (IDM) sound, the pulsating rhythms of Detroit techno, and the rhythmic energy of electro.
Over the last two years, iNFO has etched his name in the electronic music scene with a string of notable releases. His discography boasts works on esteemed labels such as Emotions Electric, Sunrise Inc, Móatún 7, Intellitronic Bubble, L50, Touched Music, Bass Agenda, Ozone, Polygon Network, Computer Controlled, Acquit Records, Non Stop Rhythm, Chicago Bee, Woodwork Recordings, and a recent signing to Injection Records.
iNFO’s music reflects his love of electronic exploration, combining nostalgic elements from his early influences with an original and creative approach. iNFO is living proof of the enduring appeal of beats originating from the streets of Sheffield and the electronic hotspots of Detroit, as he keeps bringing new material to the continuously evolving sounds in electronic music.
One release from iNFO that has become my personal favorite is the album Alkaline Glades (Móatún 7). I’ve been consistently playing it on repeat, particularly since its release on January 23, 2023. After my initial listen, I couldn’t resist sharing my thoughts and ended up writing a review on his Bandcamp page:
This is utter amazement. I’ve been listening to this album on loop all day. So many layers of harmonious synths and ethereal melodies make this album a true gem. Michael Robinson delivers what sounds like old-school electronica with a merciless bassline. Stunning! Favorite track: “triquadra.” ~ Anne Jackson —regarding Alkaline Glades
Michael Robinson is an electronic music luminary by virtue of his extraordinary versatility, which spans the many genres of electronic music. With unparalleled dexterity, he traverses the complex terrains of electro, techno, and IDM across his extensive discography, which comprises a rich tapestry of albums and compilations. Robinson’s discography reflects his passion for sound exploration and creation. Michael Robinson’s expansive and captivating collection of work has left an everlasting impression on the electronic music scene, solidifying his status as a pioneer in the field.
Anne Jackson / Igloo :: Can you share with us the meaning behind the name iNFO? We must know.
Michael Robinson / iNFO :: The name iNFO came about when I was visiting Chris Smith (CPU). This is when I was still DJing, and I had just started a new show on Future Music Radio that was going to be a mash of all the different genres of music I loved old and new. CPU had been going for about a year at this point and he said, “why don’t you use the name iNFO?” Then got all this artwork out with iNFO and iNFORMATION on it and told me that CPU was originally going to be called iNFORMATION RECORDS. So, he passed me all the artwork and iNFO was born.
Is there a particular artist (s) who has shaped your inspiration to become interested in and create your signature sound in electronic music?
iNFO :: Where do I start? It has to be with B12, Electro Soma, and Time Tourist. This was the first time I’d heard this new intelligent, warm, thought-provoking electronic music surface, and I was hooked. Then came an introduction to Autechre with Incunabula and Amber, then the sounds of Black Dog with Bytes and Spanners. Prior to this, I was listening to the likes of LFO, Nightmares on Wax, Sweet Exorcist, and, let’s say, Forgemasters, basically everything on Warp Records. In the early 80’s, I was really into Break Dancing and that’s what started my love for Electro and all the early pioneers like Cybotron, Newcleus, Captain Rock, Hashim, etc., but then later Donald and Stinson and all the wonderful alter egos they formed.
What successes or milestones in your career with electronic music make you particularly proud?
iNFO :: I think for most people who make music, the proudest moment is when they have their first release on record. It’s a feeling that you’ll never forget—a piece of your music preserved forever on wax that will outlive you and might be found in 100 years in a dusty old record collection. My first milestone was getting 500 followers on Bandcamp. It may not sound like a lot but to have 500 people from all over the world find your music is something really special. And for them to be there because they believe in what you’re doing and not because you’re popular is equally as special. My first success has to be the self-release of my first album, All Possibilities and Outcomes. I sent it off to a few people, but nobody was interested so I decided to put it on Bandcamp, and the response was overwhelming. I’m still really proud of that album. Releasing Jimmy Disko’s Emotions Electric and Chris Nez’s Computer Controlled have been definite highlights and having my first remix commission last year for Yannick Spychers at Acquit Records for Detroit legend Nate Nubia was mind-blowing. It was a special moment signing onto Pat Scott’s Ozone label, as it’s a long-running Sheffield label that has released the likes of Richard H. Kirk.
The genres of electro, techno and IDM are evident in your music, each possessing a unique resonance in sound and influences. How do you balance each genre creatively, and how do you find inspiration while creating your sound?
iNFO :: There’s no big secret, really. I wake up in the morning, press the keys, and follow whatever comes out. It’s sort of potluck where I go. I have no musical training at all, and I don’t understand music theory, which is probably evident in my music. But I think it’s what inspires me to switch genres because I have no rules to follow. I also think it’s about what frame of mind I am in. For instance, in my last album, A Throw-Away Society, I was going through a really dark time with some personal health issues, which is why the album is pretty dark. I’ve suffered from depression and anxiety for many years, but I use it as a tool to draw inspiration from, which sort of makes you feel like you own it a bit more. I always wanted to draw on all my influences and make some sort of ragu of electronic music. Drawing inspiration from it sort of makes you feel like you own it a bit more.
Your music career has propelled you to numerous record labels, which is very impressive. I noticed that you were lucky to join the record label rosters with phenomenal names such as Martin Boulton of Touched Music, Pete Grove of Woodwork Recordings, Árni Grétar and Lee Norris of Intellitronic Bubble and Andy Barton of Bass Agenda, to name a few. Could you elaborate on the ways in which these various collaborations have influenced your artistic journey and career path with electronic music?
iNFO :: It’s been amazing hooking up with all these inspirational people who have all built exceptional labels that are known world-wide. I’ve really found my home with Arni and Lee, allowing me to create more experimental sounds on Móatún 7 and scratch my electro and techno itch with Intellitronic Bubble. Andy Barton (of Bass Agenda) was the first person to ever give me a release on label as part of the Care Bots compilation during lockdown and as always, he had my back, even inviting me on the show for an interview last year. Pete Grove was also one of the first to put me on the label and thought I had something when many others weren’t interested. Martin Boulton released all my old self releases on Bandcamp last year on his label L50 and it sold out in about two hours, which was mental. To be associated with all the amazing labels I have released on has allowed me to have a conduit for me to express myself, whether it be IDM, electro, or techno, and I’ll be eternally grateful to, Pat, Tom, Alexander, Jimmy, Loam, Pete, Arni, NEZ, Andy, Verdant, Frank, Yannick, Lee, and Rob.
Can you give us a glimpse into any upcoming projects or releases you have in the works?
iNFO :: I’ll let the cat out of the bag. I’m currently working on an LP for Touched Music, as yet untitled in its early days. To be doing an album for Touched hasn’t sunk in yet and it is very daunting to be alongside so many prolific producers that have released with them.
I have a five-track electro EP coming up on the classic Berlin label Injection Records that I am really excited about. Also, I’m working on some Detroit-influenced techno for Andy Green’s Verdant Recordings. I am excited about a new electro-ep for Ozone. Lastly, I am currently trying to find the time to do some old school bleep techno for Non Stop Rhythm.
A Throw-Away Society is available on Móatún 7. [Bandcamp]
