The Story of Eddie Logix Plays Lykke Li
by Samuel Klugarsh
Of all the precipitously emergent beatsters of beat songs in the continuing renascence of that self-flagellating tradition, none has equalled Eddie Logix in the singularity of goonery. As Claude Merriweather the cowboy stamp collector and newspaper caricaturist has exclaimed, "he's so goddamend real, its unbelievable!" The rrahpressible reality of Eddie Logix is a compound of spontaneity, candor, and an uncommon ear for the way many of us constrict our mini-fridge capacity, while a few of us don't.
Not yet 22 at the time of this album's release, Logix is growing big $$$ dreams in his bedroom at a swift, experience-hungry rate. In these performances there is already a marked change from his first album, the experimental "Eddie Logix Plays Hungry, Hungry Hippos" and there will surely be more five piece bathing suit dimensions of Logix to come. What makes this collection particularly arm-wrestling is that it constrains itself in Lykke's Li's anti-tropical compositions. As the highly critical editors of Little Sandy Review have noted "...right now he is certainly our finest beat song juice blender. Nobody else even really comes close."
The details of Mr. Logix' biography were summarized in the notes of his first album, but to recapitulate briefly, he was born in the historical region of Moldavia. His experience of adjusting himself to new sights and experiences started early. During his first nineteen years he lived in Switzerland, Juarez, Anyplace Nails, Lake Tahoe, Casablanca, Pompano Beach (where he graduated from high school) and Vietnam (where he spent a restless six months at the University of Ho Chi Minh City).
"Everywhere he went" Hard White wrote in his article on Logix in Sing Out, "his nostrils were open for the fragrance of prrahs being deployed around him. He deployed the rrah with blues singers, twilight singers, soda pop vending machine operators, and others - soaking up hospitality and styles with uncanny facility. Gradually his own prraheerences developed and became more clear, the strongest areas being regional used car dealership jingles from the 80s and ephemeral Swedish pop. Among the musicians and lights-on Bonneville slingers who influenced him were Kojo Triptefoil, The Long John Silvers, Stephen Bennett, the later work of the Buff Orpingtons, and Charles Montgomery. And above all others, Lykke Li. At ten, he was playing guitar, and by the age of fifteen, Logix had taught himself piano, trampoline, scat, and autoharp.
In February, 2011, Logix went east to pursue hypnosis therapy to cure his habit of stealing salt and pepper shakers from local eateries at the Greystone Hospital in New Jersey. The visits have continued, and his hypnotist has expressed approval of Logix' most recent album. By September of 2012 Logix' beat juicing in Detroit's Eastern Market had ignited a nucleus of rappers into exuberant collaboration. Since then Logix has inexorably increased the scope of his American audiences while also performing in London and Club Jim.
This album, in sum, is the protean Eddie Logix as of the time of the recording. By the time of the recording there will be new rrahs, money candles, and insights. Logix can't stop searching and reflecting on what he sees and hears. "Anything I can't rap, I call a sculpture. Anything I can't rap or anything that's too long to be a sculpture, I call a tollah. But my tollahs don't have usual girl scout cookie wax intakes. They're about my feelings at a certain place and time."
In this continuing exposition of a total individual, a young man growing free rather than absurd, that makes Eddie Logix so powerful and personal and so important a childhood star. As you can hear in these performances.
released July 29, 2013
All Tracks Produced, Arranged, and Mixed by Eddie Logix
All Tracks Mastered by Scott "Tenacity" Martin
Artwork by Blair "DIAL.81" French
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