フォーマット |
CD |
---|---|
構成数 |
1 |
国内/輸入 |
輸入 (International Version) |
パッケージ仕様 |
- |
発売日 |
2017年06月16日 |
---|---|
規格品番 |
5759046 |
レーベル |
|
SKU |
602557590463 |
構成数 | 1枚
合計収録時間 | 01:10:56
Personnel: Eun Mee Ahn, Alyssa Park, Neli Nikolaeva, Sam Fischer, Mark Robertson , Cheryl Kim, Katie Sloan, Darius Campo (violin); Brett Banducci, Luke Maurer, Matt Funes, Jessica Freer (viola); Vanessa Freebairn-Smith, David Low , Victor Lawrence (cello). Audio Mixer: Bobby Campbell. Illustrator: Sam Spratt. 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
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1.[CD]
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1.Hallelujah
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2.Everybody
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3.Confess
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4.Killing Spree - (featuring Ansel Elgort)
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5.Take It Back
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6.America - (featuring Big Lenbo/Black Thought/Chuck D)
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7.Ink Blot - (featuring Juicy J)
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8.Mos Definitely
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9.Waiting Room
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10.1-800-273-8255 - (featuring Khalid Robinson)
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11.Anziety
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12.Black SpiderMan
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13.AfricAryaN
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ジョーイ・バッドアス『All-Amerikkkan Bada$$』、ケンドリック・ラマー『DAMN.』に続く、2017年のコンシャス・ラップ最重要作。2015年の『The Incredible True Story』に引き続き〈audio-cinematic experience〉を標榜するロジックの新作は、黒人と白人のバイレイシャルである自身のバックグラウンドに基づくコンセプト・アルバム。主人公アトムと神との対話を軸に、ふたつの異なる視点から人種問題を炙り出していく構成は、SFマニアであるロジックの真骨頂だ。全米自殺防止ライフラインの電話番号をタイトルに冠した"1-800-273-8255"、〈スパイダーマンは黒人俳優が演じるべき〉と訴える"Black Spiderman"、みずからの出自に対峙するその名も"AfricAryan"など、クライマックスに向けての怒涛の展開はきっと胸に迫るものがあるはず。J・コール、キラー・マイク、ブラック・ソート、チャックDら、ロジックの志はゲストの布陣からも窺えるだろう。初の全米アルバム・チャート1位獲得も納得のキャリア最高傑作。
bounce (C)高橋芳朗タワーレコード (vol.404(2017年6月25日発行号)掲載)
コンシャスラッパーといえばKendrick LamarとこのLOGICが思い浮かぶ。
ブラックとホワイトのバイレイシャルという立場から様々な問題を歌にする彼に多くの人が救われたはず。
リリックや解説付きの国内盤が出て欲しい。
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