[junkie-dropcap]O[/junkie-dropcap]ver the course of the last 3 years being a Logic fan has been, in a word, strenuous. My optimism rarely rewarded and only in the form of some decent songs. But never a full solid project. Not since at least the first “Bobby Tarantino” mixtape. The project I always held as the cornerstone of Logic’s true power, if you will, was “Under Pressure”. His debut full length album that served as a staple of my past teen years. “The Incredible True Story” is a marvelous record. But since that time, Logic has continuously released music with little to none of the same substance.
I think I’d be burned out too if I was churning out 2 full albums every year. So the announcement of his retirement wasn’t as surprising to me as it may have been to others. What was surprising was the accompanying announcement of his final album, “No Pressure”. A follow up to my beloved “Under Pressure” executive produced by the great No I.D.. Even after the constant disappointment, this was enough to get me not only intrigued but excited. So with no further ado, let’s dive in.
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One of the heavier points of contention when discussing Logic’s recent music is a desire for the “Old Logic” to return. This isn’t a concept exclusive to Logic. (“I Love Kanye”, anyone?) But it comes up a lot among his fans and his haters. While it is good for an artist to evolve, the title track that serves as this album’s intro shows why that “Old Logic” sound is so revered. The beat is very old-school boom-bap and Logic rips it apart with his verse. This song alone was a reunion for me with the clever, semi-conscious Logic I loved years ago.
He fires off lines like “Praying that my crew next like cotton material” or “Producing tracks for the underground like Harriet” one after another. It elated me from start to finish. To know what Logic has been truly capable of and finally see it realized even just one track in was euphoric. It set a lofty standard for the rest of the record that I am just giddy to say it maintains.
“Hit My Line” raises the production value without sacrificing the intro’s atmosphere. Sonically, it’s very light and upbeat with one of my new favorite Logic choruses ever. Logic has gotten more and more comfortable singing with each project he’s released but that singing hasn’t always been good. Look at “Supermarket” for example, where everything that can go wrong does. But the chorus on “Hit My Line” is one of his better singing performances. It’s been stuck in my head since the album released.
The verse on “Hit My Line” isn’t as upbeat as the rest of the song but it’s fitting. An overwhelmed Logic asks God to communicate with him amid violence and tragedy. It’s not overly profound, but again it’s just a side of Logic I haven’t heard in years. From front to back, this album is just so refreshing. It’s like rain over the barren desert that was Logic’s recent discography.
The track “GP4” caters to the longtime Logic fans. It continues Logic’s long-abandoned “Growing Pains” series with a heavy side of Outkast homage. Which, as an Outkast Stan, is fine with me. The beat, chorus and even the start of the verse interpolate the “ATLiens” classic “Elevators”. (A favorite of mine) From that point on, Logic’s flow is distinct enough to make the track his own. He doesn’t slouch on lyrical content, either. The line about his anxiety instigating the rapid-fire raps he’s often known for was an interesting insight into his process. The storytelling section was in line with the previous “Growing Pains” songs too.
“Celebration” shifts the influence from Outkast to early Kanye. The sample-driven beat sounds straight out of the “Late Registration” era. The opening line of course comes from “Celebration” off that album. As the title implies, the track itself is very celebratory. Logic uses his verse to acknowledge his accomplishments and his protege Silas does the same. It’s not a bar heavy track especially compared to the ones before it. But it has an infectious energy to it that gives it some replay value for me. It’s more of a feeling I’m coming back to than a song. (And that beat)
Like the intro, both sections of “Open Mic/Aquarius III” are bare production-wise. Which Logic recognizes and makes up for by going all-out lyrically. He is unstoppable on this song. “Can’t wait until my son shine and forever we reign”. “Crack baby by definition. Keys to ignition with no permission. That means I’m driven”. It’s astonishing. While there are quite a few songs here that come together beautifully, performances like this are the album’s true highlights. To hear Logic this hungry warms my goddamn heart.
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Like “GP4”, “Soul Food II” is one for the fans. The original “Soul Food” is one of my all-time favorite Logic songs and they revitalize it in this sequel. Logic attacks the beat (again) with rhyme schemes on top of rhyme schemes with bars to boot. “People scared of change but you’ll find me deep in the cushion”. “Diacritical lifestyle, I’m always overseas”. That’s some intellectual shit right there. Then when the beat switches, we get to dive into the creative mind of Logic as he takes us through the journey of the characters he created on “The Incredible True Story”. After hearing that verse a few times, I’m convinced that’s what he should’ve written a book about. It already comes with a far better soundtrack.
While “Perfect” isn’t as dynamic as the rest of the album and has nothing to offer conceptually, it slaps. The beat is like an 8-Bit rendition of a Three Six Mafia track which makes the brief appearance of Juicy J even more à propos and Logic is just flowing. It’s the shortest song with the highest “hype” factor. They place Street Fighter samples in perfectly. From the adrenaline high of “Perfect” follows the gentle come down of “man i is”. It’s a lot like “GP4”. It’s another laid back beat that Logic contrasts with his sharp flows. Lyrically, he reflects on the past and honors his idols. Partly by including yet another Outkast sample. The iconic “SpottieOttieDopaliscious” horns. It also shares a sample with “Indica Badu” from “Bobby Tarantino II” which I find quite fitting. That song functions as “BTII”‘s “chill track” just as “man i is” does here.
“DadBod” is the only song on this album I can’t see myself coming back to outside of the album itself. That being said, I understand it’s purpose. For what it’s worth, I do think Logic gets a valid point across with this song. He raps about life as a father and a husband to illustrate that he’s not the kid who was making those “Young Sinatra” tapes anymore. Sure it’s monotonous but…that’s the point. It almost seems like he was more interested in making a rebuttal than a song. So while I may never listen to it again, I respect it. (Everything except Logic condoning Chance rapping about his marriage. I’ve had my fill of that)
The track “5 Hooks” is another song about Logic as he is currently but it’s got a lot more appeal. For me, it’s the song that convinced me Logic is serious about this retirement stuff. Seems like he’s in a pretty good head-space right now and I hope he flourishes. After the beat switch, he again reflects on the highs of his career from the reception of “Under Pressure” to the wide array of features he’s landed. (It’s an impressive list. Wu-Tang, Killer Mike, 2 Chainz. I gotta commend him) I think Thalia’s (the “Midnight Marauders” inspired guide that appears throughout this album and it’s predecessor) vocal excerpt at the end sums it up. “Actually living your life is exponentially different from just being alive”. Logic has lived quite a life and clearly strives to continue doing so. More power to him.
I also think the positive reassurance of “5 Hooks” was a preparation for the following song, “Dark Place”. Because an ominous place this song is indeed. In the grander scheme of not only this album but Logic’s career. Logic is more painfully honest on this song than he’s ever been and in doing so, reminds us it’s okay to be sad sometimes. Logic has made songs to connect with those who may struggle mentally before but this feels more authentic than any other. A layer is peeled back here to really create a connection, and I admire it greatly.
Logic’s bars about his public perception and the slander he’s received handed me a lot of perspective. He’s shown before that he can take valid criticism which I always appreciate. But very few artists take as much of it, fair or not, as Logic. I can’t say I’m surprised it would effect him the way it did but I’m thrilled he persevered and that he expressed it as he does on “Dark Place”. It’s a new personal favorite of mine.
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The alphabetical concept of “A2Z” is fun on paper. But it takes sharp execution to avoid it being overly corny or self-indulgent. Logic’s execution on the song is impressive. The verse flows organically and never feels like it’s reaching too hard. The beat is ominous for the song’s tone. Like it should be off-putting but fits and I love it. The throwback verse at the end wasn’t bad either. It shows us just how long Logic’s been rapping and putting his all into it. Another valid reason he may be ready to hang it up.
“Heard Em Say” starts off echoing similar sentiments to “Dark Place” but swiftly turns more triumphant. It’s a bold conclusion to the “No Pressure program”. Logic again uses himself as an example to uplift others who may be in similar situations. Even without cutting as deep as “Dark Place”, it’s still an effective way to technically end the album. The hook admittedly isn’t my favorite but it takes nothing away from the rest of the song.
While I’m saddened that “Amen” is the beginning and the end of the long-awaited “Ultra 85”, it’s an impactful way to go out. It’s a lot like “Hit My Line” in terms of sound. (The hook is almost as good. Definitely a close second) The verses are reflective like other songs on the album were before it and a little motivational too. It just feels like the culmination of everything.
Hearing Logic say that this concludes “The Incredible True Story” even got my eyes a little misty. “Amen” is a memorable farewell to a memorable artist, for better or worse. Like “Return Of The King”, this thing ends like 3 times but “Obediently Yours” is its proper finish. The note it finally commits to closing on is a necessary and relevant one. The entire track is dedicated to a speech from Orson Welles about doing more for our fellow man and ending discrimination. Very relevant.
“If we can’t die in behalf of progress, we can live for it. Progress, we Americans take to mean a fuller realization of democracy. The measure of progress, as we understand it, is the measure of equality enjoyed by all men. We can do something about that.” – Orson Welles
Overall, this is the best way I could’ve imagined Logic going out. This is what I’ve wanted from him for years now, and I know I’m not alone. A fact Logic himself recognized. I think a lot of credit and praise should go to No I.D. for this. (6ix too. Who’s been the most consistent positive in Logic’s discography). Logic sharpened his pen going into this album and kept it sharp throughout the course of the record. The wordplay, the storytelling, the flow, they’re all back in prime form. I’m so appreciative that this is the parting gift he gave us. Even after all the trials, Logic is a presence I’ll miss having around. But this feels right. Congratulations on the family, Logic. Go enjoy it.
