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Hip-Hop/Rap - Paru le 24 juillet 2020 | Def Jam Recordings

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Un dernier coup avant de raccrocher. Tel un vieux braqueur, Logic livre ici son (soi-disant) ultime tour de force avant de se consacrer à sa famille, certes, mais surtout à la plateforme Twitch, avec laquelle il a signé un contrat d’exclusivité de plusieurs millions de dollars pour en devenir l’un des streameurs stars. Forcément, cela attise la curiosité. Mais No Pressure, produit par son grand acolyte 6ix ainsi que par No I.D., l’un des plus grands beatmakers de son époque (Jay-Z, Common, Big Sean…), n’a rien d’un lâcher-prise. Comme à son habitude, le rappeur du Maryland livre un rap ultra-maîtrisé, très académique et à l’image de sa carrière.Logic a toujours cherché à justifier sa présence dans ce milieu musical. Il doit montrer d’emblée qu’il maîtrise toujours le boom bap (No Pressure Intro, Open Mic//Aquarius III…), rappeler d’où il vient, ce qu’il fait… Les rappeurs parlent de rap, c’est bien connu. Ces complexes donnent lieu à un récital. Dans Celebration, qui porte la patte sonore de J Dilla, ou dans Soul Food III, il y a ces samples de soul, censés rappeler que le bonhomme connaît ses classiques. Même son de cloche lorsqu’il rend hommage à OutKast sur man i is ou qu’il remercie Kanye West sur Perfect.C’est peut-être lorsqu’il se fait plus sombre qu’il parvient à être le plus sincère. GP4 est technique au possible, mais dans une production très retenue, bien plus épurée. On sort de la démonstration malgré la rapidité du flow. Et puisqu’il n’a que 30 ans, il n’est pas surprenant de le voir s’essayer à des instrus bien plus actuelles, influencées par la scène drill sans jamais tomber complètement dedans (sur Perfect encore une fois). Sans jouer les faux prophètes, difficile d’y voir un baroud d’honneur. Plutôt une synthèse de carrière, une fin d’époque. En attendant la prochaine ? © Brice Miclet/Qobuz
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Hip-Hop/Rap - Paru le 30 juillet 2021 | Def Jam Recordings

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In July of 2020, rapper Logic announced he'd be retiring from music with the release of his sixth album, No Pressure. The record was one of his more fully formed statements, and it was a commercial success as well, debuting at number two on the Billboard charts. Less than a year after retiring (and not including various spin-off projects and music made in that time under different aliases), Logic announced his return to music and began releasing new singles. Bobby Tarantino III is his seventh mixtape, and the third and final installment of his ongoing Bobby Tarantino series. The previously released single "Vaccine" is an exciting rush of fast rapping, a sinister chorus, and a spacy, synth-heavy beat. Jazzy trap track "Inside" is another invigorating moment on BT3, with Logic delivering lyrics about anxiety and insecurity about how his music is received, the song bolstered by a gorgeous sung chorus from Cynthia Erivo, the tape's only featured guest. Many of the 12 tracks take slightly different approaches, to varying degrees of success. Both the throwback beat and hooky bass line of "Theme for the People" and the upbeat, sample-driven "God Might Judge" are energetic standout tracks. Forays into pop are less interesting, like the plodding "Get Up" or '90s-tinged "Call Me." Songs like these and several others on BT3 take a while to get started and add to the overall disjointed flow of the project. Where No Pressure felt like a fitting note for Logic to go out on, Bobby Tarantino III feels a lot less like an enthusiastic comeback, and more like a few tracks that gathered in the interim between the retirement announcement and the coming-out-of-retirement announcement. © Fred Thomas /TiVo
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Hip-Hop/Rap - Paru le 9 mars 2018 | Def Jam Recordings

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Après la consécration, voici l’heure de la récréation. Logic terminait 2017 avec un statut régalien du haut d’Everybody, son troisième disque d’or d’affilée. Presque sans bruit, le rappeur du Maryland rayonnait avec l’immense succès de 1-800-273-8255 et sa sensibilisation aux tendances suicidaires de la jeune génération. L’album entier se voulait prise de conscience d’une société, une réponse artistique de la middle class face au choc de l’élection de Donald Trump. La direction est très différente avec ce deuxième volume de sa série de mixtapes, Bobby Valentino. L’introduction donne le ton avec Rick & Morty, les deux personnages du dessin animé geek du moment, débattant sur l’ennui dégagé par la musique de Logic. Ce second degré est ainsi de mise sur toute la longueur du projet, entre facéties libératrices et jongles lyriques. Là où Logic prenait très à cœur son rôle de porte-parole éveillé sur Everybody, il déconstruit sa pensée pour la rendre plus potache sans être provocante. Epaulée par son producteur 6ix, la musique de Logic est toujours consciencieuse, à la pointe des sonorités actuelles. C’est d’ailleurs souvent ce qu’on lui reproche : un manque d’identité, empruntant à la fougue de Kendrick Lamar et aux mélodies entêtantes de Drake. Pourtant, l’ensemble des productions module toujours parfaitement les frappes chirurgicales du rappeur. Notons le très réussi 44 More, sorte de résumé à l’unique couplet de 44 mesures qui démontre les facilités de Logic dans tous les domaines. Gardons aussi Indica Badu, sa collaboration tout en douceur avec le sous-estimé Wiz Khalifa, toujours à son avantage dans ce genre d’aventure. Avec Bobby Valentino II, Logic s’accorde une escapade légère, révélant une facette plus hédoniste de sa personnalité. Cette pause est la meilleure porte d’entrée pour apprécier son œuvre, encore peu connue de ce côté de l’Atlantique. © Aurélien Chapuis/Qobuz
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Hip-Hop/Rap - Paru le 22 mars 2019 | Def Jam Recordings

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Maryland rapper Logic's nonstop flow of new content continued from his 2017 breakthrough Everybody to 2018's YSIV to fifth studio album Confessions of a Dangerous Mind in spring of 2019. That doesn't take into account multiple mixtapes and even the emcee's first novel and its accompanying soundtrack, each new project surfacing a few months after the last. While Confessions of a Dangerous Mind shows no signs of Logic running out of gas, he does sound a little low on fresh ideas, applying his scattershot flows to lyrics about mental health, the plight of social media, fame, his relationship with the rap game, and the same type of material he's visited before. His talents as a rapper are undeniable, with styles that can be technically dazzling (as on the syllable-shedding Eminem debut "Homicide") or catchy and melodic. Standout track "Keanu Reeves" hits with a hooky chorus, fluid verses, and one of most head-bobbing beats on the album. "Mama/Show Love" is another strong track, the second verse provided by YBN Cordae complimenting Logic's waterfall flow. The song is dark and driven, but the interplay between the rappers gives it a sense of fun. Mediocre features from G-Eazy and Wiz Khalifa are less inspired, and when Will Smith shows up as a quasi-mentor figure on the embarrassing throwback "Don't Be Afraid to Be Different," things go from bland to painful. Of the 16 tracks here, roughly a third could have easily been left off the project. Similarly, Logic spends a lot of time reiterating the same perspectives on multiple songs as well as inexplicably shouting out more famous rappers. Confessions of a Dangerous Mind feels more self-conscious than dangerous, and its lukewarm consistency suggests that Logic might benefit from taking more time between projects. His talents as a rapper and lyricist are still stunning, and much of the production is solid, but the album ultimately feels like a one-sided conversation with an insecure friend. You love them, but kinda wish they'd just go to therapy and get back to you once they've worked some of those issues out. © Fred Thomas /TiVo
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Hip-Hop/Rap - Paru le 25 juin 2021 | Def Jam Recordings

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After Logic announced his return from a brief retirement, previewed his collaboration with Madlib (as MadGic), and released a new solo track ("Intro"), he offered this compilation of tracks taken from the first three volumes of his Young Sinatra mixtape series (2011-2013). The YS Collection, Vol. 1 is less a generalized overview than a kind of distillation, favoring 6ix and C-Sick productions and almost completely disregarding tracks with featured appearances; finale "Tokyo Nights," on which Logic is joined by Like, contains the only true mike hand-off. For listeners who caught on with Under Pressure, Logic's 2014 commercial breakthrough, this is a coherent and fine representation of what the rapper accomplished beforehand, including noteworthy tracks such as "5 A.M.," "Inception," and "Relaxation" (the last of which is delivered over the instrumental of A Tribe Called Quest's "Electric Relaxation"). © Andy Kellman /TiVo
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Hip-Hop/Rap - Paru le 28 septembre 2018 | Def Jam Recordings

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Dès l’introduction de YSIV, l’ambition de Logic est claire : revenir à l’esthétique et à l’énergie du boom bap des années 90. Pour redéfinir les contours de ce genre à sa manière, le rappeur se permet sur ce quatrième volume de ses projets Young Sinatra des hommages et pieds de nez à ses idoles. Kanye West revient souvent dans la toile de fond, notamment sur cette version personnelle de Last Call très touchante. Logic évoque aussi Nas ou Big L sur un Street Dreams 2 des plus cinématographique. Toujours produit en grande partie par 6ix, la conception globale de l’album fourmille d’idées. Tous les plus petits détails sont des références culturelles à une époque, un état d’esprit. Logic s’amuse par exemple sur l’iconique breakbeat d’Apache pour une joute funky aux accents go-go avec Wale sur 100 Miles and Running, référence à un autre titre légendaire de NWA. Plus tard, le rappeur part dans une démonstration technique aux côtés de Jaden Smith sur ICONIC comme une réminiscence des experts Busta Rhymes et autres Eminem avec le fils du Prince de Bel Air. Le point d’orgue de ce condensé de boom bap réactualisé reste Wu Tang Forever, un tour de force où Logic réunit le Wu Tang originel au grand complet. Malgré l’absence d’Ol Dirty Bastard, ce morceau retrouve la force d’un rap enthousiaste et spontané, grosse source d’inspiration pour Logic. Avec des moments introspectifs forts et des parties plus ludiques, Logic prouve sur YSIV qu’il peut maintenant entièrement synthétiser ses influences pour les rendre modernes et pertinentes tout en leur rendant les honneurs de manière explicite. Un parfait passage de témoin. © Aurélien Chapuis/Qobuz
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Hip-Hop/Rap - Paru le 6 mai 2017 | Def Jam Recordings

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There's a lot happening on Logic's third proper Def Jam album. Central is an adaptation of Andy Weir's The Egg, a short story in which a didactic God (portrayed here by astrophysicist Neil deGrasse Tyson) and a stupefied man (played by DJ Big Von) discuss, after the latter's tragic death, reincarnation and the meaning of life. The dialogue begins at the end of the opener, continues as the entirety of the five-minute ninth track, and concludes in the message-filled finale. Without it, there's still well over an hour of music, enough to accommodate a multitude of perspectives and themes from the affably verbose Logic, who still seems to enjoy rapping as much as John Legend does singing. Keeping track of whether Logic's writing from his own or someone else's vantage can be a challenge, but one doesn't need to be that familiar with his work to realize that this contains some of his most personal rhymes. The tone is set early when he declares "Music is made to assimilate," after which he examines what does the opposite. All the while, he details various prejudices he has faced as a light-skinned biracial man, down to the assumption that he must have had it easy despite being born to drug-addicted parents and raised in a violent household with a racist mother who called him the n-word (the six-letter version). The production, handled by 6ix and Logic with a handful of assists, ensures that the album doesn't get mired in concepts and turn into a Saturday Night Live student theater showcase skit. The majority of the tracks are uptempo and tend to change shape as they play out, generally switching between gnashing breakbeats and snaking trap beats with slightly woozy atmospheric touches. Most compelling of the stylistic diversions occurs in "1-800-273-8255," a modern orchestral pop number titled after the number for the National Suicide Prevention Hotline, and the sonically and lyrically connected "Anziety," where Logic details his struggles with (and positive spin on) anxiety. Out of the dozen listed features, Killer Mike takes the prize for his blazing polemic addressed to God. The booklet also acknowledges Weir, though pre-808s Kanye West, post-Section.80 Kendrick Lamar, and Chance the Rapper continue to loom large in Logic and 6ix's approach to making panoramic rap albums. © Andy Kellman /TiVo
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Hip-Hop/Rap - Paru le 13 novembre 2015 | Def Jam Recordings

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With a story that takes place 100 years in the future, Logic's sophomore LP is also a concept album, and with the Gaithersburg, Maryland MC's vibrant, ambitious debut providing evidence the young artist could do it, it doesn't take long for The Incredible True Story to live up to its title. The "true" bit comes from the album's honest yet uplifting message, as early highlight "Fade Away" gives up "Everybody's gonna die, gonna go one day/Maybe it'll happen on a Monday, drop in to work and get hit by a Hyundai," as that flippant wisdom is delivered with Logic's usual breakneck speed. As fast as he raps, it's arguable that the musical ideas come even faster, with the flute-driven "Like Woah" reimagining hip-hop in the age of hippies and flower power, while highlight "Young Jesus" kicks with the old-school boom-bap from 6ix and Sir Dylan, as this clever devil MC gets in the Eminem spirit with "Eat whack MCs like Hannibal/Cause Joe Pesci's my spirit animal." Much of the album comes off as a De La Soul-like kaleidoscope with that OutKast attitude of anything goes, and then cuts like "Lord Willin'" and "Paradise" with Jesse Boykins III offer something new, with a small funk band formation delivering music that could easily be reproduced on-stage. This kinetic album can get flashy, and the sci-fi interludes grow as big as a Michael Bay movie, yet it is anchored by the more thoughtful numbers, like the wise "Never Been" ("You gotta climb over your ego to master your will") and the overwhelming title cut, where Logic delivers a stream of consciousness looking back at his life and in a style somewhere between Kendrick Lamar and a jazz singer. The guest list is lean plus the production is mostly from in-house folks like 6ix, DJ Khalil, and Logic himself, and the whole experience is like Prince in his heyday, where a creative force and a tight-knit crew create something startling and fully formed. An outward-aimed Drake is another comparison, based on style and swagger, but like the album's intro says as it captures two future cosmonauts going through music from 2015, this is the album where it all changed, as the one they call Young Sinatra comes into his own and proves his nearly perfect debut was no isolated fluke. © David Jeffries /TiVo
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Hip-Hop/Rap - Paru le 24 juin 2016 | Atlantic Records

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Hip-Hop/Rap - Paru le 1 juillet 2016 | Def Jam Recordings

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Hip-Hop/Rap - Paru le 21 octobre 2014 | Def Jam Recordings

Acting as if the debut album still meant something in the post-mixtape anything-goes world (thanks Internet!), Maryland rapper Logic set himself up for something big after his crafted and beloved series of Young Sinatra mixtapes, but he could have called them Young Beatles. Those right-clickable freebies were like Please Please Me, while this mature entrance on Def Jam is his Rubber Soul turning into Revolver, offering a conceptual, Good Kid, M.A.A.D City-like journey through Logic's sad past, but adding to the mix Drake-sized charisma along with some innocent kid wit. "Metropolis" goes "Just left a hotel in Belgium, and their waffles was insane" with wide-eyed flair, chuckling and kicking it in stark contrast to Logic's admission elsewhere that selling crack rock to Dad was a low point for this now 24-year-old man. Family problems, addiction, and poverty are always knocking at Under Pressure's bedroom door, but the bedroom walls are lined with pictures of hip-hop heroes of all sorts, as "Bounce" finds the joy and creative outlet in a genre that goes "from Project Pat to Dilla." Phone messages from family weave in and out of the album, some of them now sober and asking the rapper to stop speaking of the past, but like the posters on the wall, they're just influences and milestones, as this feature-less album is filled to the brim with Logic, because with such insight, charm, honesty, and outlook, it absolutely should be. Likewise, "Under Pressure" is almost ten minutes long because that's what such a complex track deserves, embracing how the rapper's upswinging life is all tangles and contrasts, from a sister dealing with a post-rape life along with kids who hate her, and all while Logic is in danger of morphing into a fame-fed hypebeast ("I know that birthday, I missed it/I swear I told my assistant, but…."). Producer 6ix offers up fresh R&B ("Soul Food") and A$AP Mob-ish dream sequences ("Gang Related") while Logic goes whiz kid with his production on the pop-tacular highlight "Buried Alive." Even if this ambitious album is extremely busy with genre-hops, segues, sampled voices, and interludes popping up, it isn't cluttered, as if blueprints and album outlines were thoroughly discussed and tested, probably with executive producer No I.D.'s final approval. Just like Kendrick's stunning Good Kid, M.A.A.D City, Under Pressure is an autobiographical and odds-beating debut that arrives more fully formed than expected. Maybe all those mixtapes were all called Young Sinatra because the best was yet to come. © David Jeffries /TiVo
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Hip-Hop/Rap - Paru le 29 novembre 2017 | Atlantic Records

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Hip-Hop/Rap - Paru le 6 mai 2017 | Def Jam Recordings

There's a lot happening on Logic's third proper Def Jam album. Central is an adaptation of Andy Weir's The Egg, a short story in which a didactic God (portrayed here by astrophysicist Neil deGrasse Tyson) and a stupefied man (played by DJ Big Von) discuss, after the latter's tragic death, reincarnation and the meaning of life. The dialogue begins at the end of the opener, continues as the entirety of the five-minute ninth track, and concludes in the message-filled finale. Without it, there's still well over an hour of music, enough to accommodate a multitude of perspectives and themes from the affably verbose Logic, who still seems to enjoy rapping as much as John Legend does singing. Keeping track of whether Logic's writing from his own or someone else's vantage can be a challenge, but one doesn't need to be that familiar with his work to realize that this contains some of his most personal rhymes. The tone is set early when he declares "Music is made to assimilate," after which he examines what does the opposite. All the while, he details various prejudices he has faced as a light-skinned biracial man, down to the assumption that he must have had it easy despite being born to drug-addicted parents and raised in a violent household with a racist mother who called him the n-word (the six-letter version). The production, handled by 6ix and Logic with a handful of assists, ensures that the album doesn't get mired in concepts and turn into a Saturday Night Live student theater showcase skit. The majority of the tracks are uptempo and tend to change shape as they play out, generally switching between gnashing breakbeats and snaking trap beats with slightly woozy atmospheric touches. Most compelling of the stylistic diversions occurs in "1-800-273-8255," a modern orchestral pop number titled after the number for the National Suicide Prevention Hotline, and the sonically and lyrically connected "Anziety," where Logic details his struggles with (and positive spin on) anxiety. Out of the dozen listed features, Killer Mike takes the prize for his blazing polemic addressed to God. The booklet also acknowledges Weir, though pre-808s Kanye West, post-Section.80 Kendrick Lamar, and Chance the Rapper continue to loom large in Logic and 6ix's approach to making panoramic rap albums. © Andy Kellman /TiVo
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Hip-Hop/Rap - Paru le 22 mars 2019 | Def Jam Recordings

Maryland rapper Logic's nonstop flow of new content continued from his 2017 breakthrough Everybody to 2018's YSIV to fifth studio album Confessions of a Dangerous Mind in spring of 2019. That doesn't take into account multiple mixtapes and even the emcee's first novel and its accompanying soundtrack, each new project surfacing a few months after the last. While Confessions of a Dangerous Mind shows no signs of Logic running out of gas, he does sound a little low on fresh ideas, applying his scattershot flows to lyrics about mental health, the plight of social media, fame, his relationship with the rap game, and the same type of material he's visited before. His talents as a rapper are undeniable, with styles that can be technically dazzling (as on the syllable-shedding Eminem debut "Homicide") or catchy and melodic. Standout track "Keanu Reeves" hits with a hooky chorus, fluid verses, and one of most head-bobbing beats on the album. "Mama/Show Love" is another strong track, the second verse provided by YBN Cordae complimenting Logic's waterfall flow. The song is dark and driven, but the interplay between the rappers gives it a sense of fun. Mediocre features from G-Eazy and Wiz Khalifa are less inspired, and when Will Smith shows up as a quasi-mentor figure on the embarrassing throwback "Don't Be Afraid to Be Different," things go from bland to painful. Of the 16 tracks here, roughly a third could have easily been left off the project. Similarly, Logic spends a lot of time reiterating the same perspectives on multiple songs as well as inexplicably shouting out more famous rappers. Confessions of a Dangerous Mind feels more self-conscious than dangerous, and its lukewarm consistency suggests that Logic might benefit from taking more time between projects. His talents as a rapper and lyricist are still stunning, and much of the production is solid, but the album ultimately feels like a one-sided conversation with an insecure friend. You love them, but kinda wish they'd just go to therapy and get back to you once they've worked some of those issues out. © Fred Thomas /TiVo
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Hip-Hop/Rap - Paru le 2 juillet 2021 | Def Jam Recordings

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Hip-Hop/Rap - Paru le 24 juillet 2020 | Def Jam Recordings

Un dernier coup avant de raccrocher. Tel un vieux braqueur, Logic livre ici son (soi-disant) ultime tour de force avant de se consacrer à sa famille, certes, mais surtout à la plateforme Twitch, avec laquelle il a signé un contrat d’exclusivité de plusieurs millions de dollars pour en devenir l’un des streameurs stars. Forcément, cela attise la curiosité. Mais No Pressure, produit par son grand acolyte 6ix ainsi que par No I.D., l’un des plus grands beatmakers de son époque (Jay-Z, Common, Big Sean…), n’a rien d’un lâcher-prise. Comme à son habitude, le rappeur du Maryland livre un rap ultra-maîtrisé, très académique et à l’image de sa carrière.Logic a toujours cherché à justifier sa présence dans ce milieu musical. Il doit montrer d’emblée qu’il maîtrise toujours le boom bap (No Pressure Intro, Open Mic//Aquarius III…), rappeler d’où il vient, ce qu’il fait… Les rappeurs parlent de rap, c’est bien connu. Ces complexes donnent lieu à un récital. Dans Celebration, qui porte la patte sonore de J Dilla, ou dans Soul Food III, il y a ces samples de soul, censés rappeler que le bonhomme connaît ses classiques. Même son de cloche lorsqu’il rend hommage à OutKast sur man i is ou qu’il remercie Kanye West sur Perfect.C’est peut-être lorsqu’il se fait plus sombre qu’il parvient à être le plus sincère. GP4 est technique au possible, mais dans une production très retenue, bien plus épurée. On sort de la démonstration malgré la rapidité du flow. Et puisqu’il n’a que 30 ans, il n’est pas surprenant de le voir s’essayer à des instrus bien plus actuelles, influencées par la scène drill sans jamais tomber complètement dedans (sur Perfect encore une fois). Sans jouer les faux prophètes, difficile d’y voir un baroud d’honneur. Plutôt une synthèse de carrière, une fin d’époque. En attendant la prochaine ? © Brice Miclet/Qobuz
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Alternatif et Indé - Paru le 26 mars 2019 | Def Jam Recordings

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One of Logic's boasts on the YSIV track "Everybody Dies" was "I just took a hiatus and wrote a novel, motherfucker." Only six months after the release of YSIV, Logic made his literary debut with Supermarket, a novel written from the perspective of a suburban grocery store employee. Coinciding with its publish date, Logic also issued Supermarket. Unlike his previous recordings, it's primarily rock-oriented, alternately downcast and easygoing, with Logic roughly reversing his standard singing-to-rapping ratio. The only guest voice is that of Juto, heard on the Lou Reed/A Tribe Called Quest-referencing "Can I Kick It." © TiVo
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Hip-Hop/Rap - Paru le 21 octobre 2014 | Def Jam Recordings

Acting as if the debut album still meant something in the post-mixtape anything-goes world (thanks Internet!), Maryland rapper Logic set himself up for something big after his crafted and beloved series of Young Sinatra mixtapes, but he could have called them Young Beatles. Those right-clickable freebies were like Please Please Me, while this mature entrance on Def Jam is his Rubber Soul turning into Revolver, offering a conceptual, Good Kid, M.A.A.D City-like journey through Logic's sad past, but adding to the mix Drake-sized charisma along with some innocent kid wit. "Metropolis" goes "Just left a hotel in Belgium, and their waffles was insane" with wide-eyed flair, chuckling and kicking it in stark contrast to Logic's admission elsewhere that selling crack rock to Dad was a low point for this now 24-year-old man. Family problems, addiction, and poverty are always knocking at Under Pressure's bedroom door, but the bedroom walls are lined with pictures of hip-hop heroes of all sorts, as "Bounce" finds the joy and creative outlet in a genre that goes "from Project Pat to Dilla." Phone messages from family weave in and out of the album, some of them now sober and asking the rapper to stop speaking of the past, but like the posters on the wall, they're just influences and milestones, as this feature-less album is filled to the brim with Logic, because with such insight, charm, honesty, and outlook, it absolutely should be. Likewise, "Under Pressure" is almost ten minutes long because that's what such a complex track deserves, embracing how the rapper's upswinging life is all tangles and contrasts, from a sister dealing with a post-rape life along with kids who hate her, and all while Logic is in danger of morphing into a fame-fed hypebeast ("I know that birthday, I missed it/I swear I told my assistant, but…."). Producer 6ix offers up fresh R&B ("Soul Food") and A$AP Mob-ish dream sequences ("Gang Related") while Logic goes whiz kid with his production on the pop-tacular highlight "Buried Alive." Even if this ambitious album is extremely busy with genre-hops, segues, sampled voices, and interludes popping up, it isn't cluttered, as if blueprints and album outlines were thoroughly discussed and tested, probably with executive producer No I.D.'s final approval. Just like Kendrick's stunning Good Kid, M.A.A.D City, Under Pressure is an autobiographical and odds-beating debut that arrives more fully formed than expected. Maybe all those mixtapes were all called Young Sinatra because the best was yet to come. © David Jeffries /TiVo
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Hip-Hop/Rap - Paru le 24 juillet 2020 | Def Jam Recordings

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Publié en 2020 et succédant à Confessions of a Dangerous Mind (2019), No Pressure constitue le sixième album studio du rappeur américain Sir Robert Bryson Hall II, alias Logic. Annoncé comme le dernier chapitre de sa discographie et faisant écho à son premier effort officiel de 2014, Under Pressure, l'album voit le MC revenir à la formule de ce dernier, mêlant flow rapide, production méticuleuse et vulnérabilité dans la description de ses états d'âme et de sa santé mentale, et propose une collection de quinze titres essentiellement produits par 6ix et No I.D. avec l'appui de figures comme Toro y Moi ("Dark place"). S'imposant comme l'un des efforts les plus directs et honnêtes de Logic en date, No Pressure décroche la seconde place du Top 100 à domicile avec l'aide du single "Perfect". © TiVo
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Hip-Hop/Rap - Paru le 2 mars 2018 | Def Jam Recordings

L'interprète

Logic dans le magazine
  • Logic, fin de partie ?
    Logic, fin de partie ? Avec "No Pressure", le rappeur du Maryland signe un sixième album costaud synthétisant sa carrière de jeune trentenaire et qu'il annonce comme son dernier. Vraiment ?