Robert Logan’s music is an intelligent fusion of influences from folk, medieval and classical to krautrock and electronica. He blends acoustic and electronic instruments and sound sources including voices and field recordings, and he has developed an intuitive and fluid use of digital production tools. His complex and restless rhythms carry an echo of his half Hungarian background and its rich musical history. With this new video created for ‘Solanoid’ from his new album ‘Flesh’, he revisits his Hungarian roots. Let’s take this seven and a half minutes long industrial trip together.
Robert Logan’s first album ‘Cognessence’ (2007) prompted an array of rave reviews and favourable comparisons to some of the giants of electronic music. Still only 19 at the time he was described as “…something of a prodigy…a man that is already showing a maturity and a musical/textural understanding that many simply never find.” (BBC). A second album ‘Inscape’ and a clutch of EP’s garnered yet more praise and cemented his reputation as an artist with immense talent.
‘Flesh’ is Logan’s third full-length album and sees him further develop his idiosyncratic sound whilst continuing to open up new possibilities within the field of electronic music. Logan’s methodology is rooted in an obsessive desire to push the technology at his disposal to the limit – all his sounds are created from scratch or are created by deconstructing found sounds and acoustic instruments through extreme digital processes. Most of the album is composed using quarter tones, an experiment which is most in evidence on tracks that feature contributions from Andy Knight (Emporor’s New Clothes) on pocket trumpet. Other contributors include Sarah Sarhandi on viola and drummer Frank Byng (Snorkel, Prescott) who guests on the first three tracks and is a nod to his live band set up. This contrast between ‘live’ instrumentation and his own digital methods taps into some of the themes that Logan is exploring in the music and that give the album its title – ideas about flesh and spirit, technology and nature, mind and matter.
The music ranges from the melodic and garage inspired bounce of ‘Phrack’, the sophisticated dark grooves of ‘Viker Raver’ and ‘Straighten’, the complex and breathless overtures and overtones of ‘Vespine Domain’ and ‘Spirit Wars’, to his more out of the box experiments with tracks such as ‘Glad Centipede’, ‘Cyborg Horn’ and ‘Playground’.
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