RATING: 5.5/10
Must Listens:
Logic has been on a slow ascent for over a decade now, and after reaching mainstream popularity through his third studio album Everybody, I have felt his appeal to me quickly descend. Content wise, Logic has started off 2019 with a bang – releasing Supermarket (a soundtrack to his debut novel) and now, Confessions of a Dangerous Mind.
Beginning the album with two of his singles, Confessions of a Dangerous Mind and Homicide (feat. Eminem), we already get a taste of the two sides of the same coin. A lot of Logic’s work in recent years has either featured a strong message of love and equality or his playful and impressive pace of word play. While Logic’s fast ability cannot go unmentioned I think its use on this album is underwhelming and in a way, cringe. I think a better example of Logic utilising this flow is on songs like Gang Related, but at least he shows his self awareness through the Chris D’Elia outro of Homicide.
The album largely tackles how Logic has dealt and is dealing with his fame. This theme is most present on Wannabe and clickbait, both catchy songs but are a little too painfully satirical for me. Mama / Show Love (feat. YBN Cordae) is one of the better tracks of the project, and is another example of how the fast rapping can work well. Logic is blessed with one of the most underrated producers in the game 6ix, who is one of the major reasons I come back to check out Logic’s new work. YBN Cordae is also a highlight, and one of the best features on the album. The other being Icy (feat. Gucci Mane) which is my favourite track on the album with a catchy chorus over a tip toeing beat and Gucci nicely compliments the songs bravado.
Coming back to satire of this album, COMMANDO (feat. G-Eazy) feels like a poor attempt for a strip club anthem with G-Eazy being the perfect candidate for a song like this. He also makes attempts for a trap banger through Still Ballin’ (feat. Wiz Khalifa), but falls short of anything noticeable. The rest is more or less forgettable (I don’t even want to acknowledge the Will Smith feature), but he ends the album on a high note with the smooth Lost in Translation.
All in all, Logic is lost in the caricature of himself by either being his preachy self or name dropping and delivering empty brags. The production work is great though and for big fans of Logic and his style, I think this provides some redeeming fan-service.
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Frank Tremain 