“Confessions of a Dangerous Mind” is Logic giving up on making good music

Confessions of a Dangerous Mind

“Confessions of a Dangerous Mind” is the fifth studio album from Maryland-born rapper and singer Logic. The project is 16 songs and a little over 55 minutes long, and has features from the likes of Eminem, Gucci Mane and Will Smith.

Logic has always been a tough one for me to judge. I think the man holds a tremendous amount of talent when it comes to his deliveries and flow, and occasionally brings together a few great concepts in a song. But Logic has rarely been able to do it throughout an entire project, often falling into corny territory.

But what most certainly does not help is that Logic comes into this project at his absolute lowest with the abysmal release, “Supermarket.” This release is his least rap, but also his least impressive, showing off the artist’s often horrid singing voice through a variety of genres that Logic might just be better off avoiding forever.

This album did not set my expectations high for “Confessions,” but hey, I did like two out of the three singles, so maybe “Supermarket” was just some terrible fluke.

The Good

Those two singles headline this section of the review.

The title track starts this album off on a high note, with Logic doing a lot of what he does best throughout. The verses are tight and have a strong lyrical message of the artist struggling with anxiety and criticism through all the fame, and I think it all comes together quite well. The beat isn’t groundbreaking, but it works to bring Logic’s flow to the foreground.

“Homicide” immediately follows this song up, and is another track that I didn’t love, but I most certainly could get behind. Most of Logic’s verses here are strong, aside from two changes in his voice that come off more cringey than funny. I think the “chicka-chicka-chicka-chicka” in the chorus is fun, and I also think Eminem, gives a guest feature that is better than nearly anything he has done on his past two albums.

Of the songs on here, there is no doubt “Lost in Translation” is the best one on here by a wide, wide margin. This song feels like a throwback to what made Logic a star in the first place, something he even admits to in the song. The beat is groovy and effective, but the clear change in this song compared to the rest of the album is with Logic. Here, his quips land, his flow is terrific, and he doesn’t feel like he is taking himself too seriously.

I love the beat switch incorporated in the middle of the track, and it makes for a very satisfying ending track after sitting through nearly an hour of pure hell.

The Bad

“Supermarket” was really bad. “Confessions of a Dangerous Mind” might be worse.

Where I could at least say the former tried to bring the artist into new genres, and is also tied to a book I did not read, neither can be said for “Confessions.”

For awhile it has felt like Logic is on the brink of figuring out this album thing, but just got in a bit over his head, thus creating a messy album. But now, it feels like he has just gotten lazy as shit, and horrifically so. I’ll start where he starts to go wrong, and that is with “Wannabe,” which is just a minute of pain and annoying singing.

The real meat of the atrocity comes with the proceeding track, “clickbait.” This track has an awful chorus, awful lyrics, awful singing and an awful flow. For a man that usually brings some ideas to the table, it is really sad hearing him devolve into just talking about getting blown and hooking up with women, and doing it with a ridiculously bad vocal performance.

YBN Cordrae does his best to save the next song, “Mama / Show Love,” but it is all undone with Logic’s brutally cringey bar about respecting women, even though there are “some real bad bitches out there.”

“Out of Sight” is yet another garbage track that has yet another garbage chorus and is not helped by Logic’s continuously worsening lyricism. Look, I know there are plenty of artists that can work without meaningful lyrics, but Logic is not one of them. When those artists do it, they have strong production backing it, and a certain swagger or charisma that allows it all to come together.

When Logic throws down these cringe bars about sex and being so sick and awesome, I just want to sock him in the face. There is nothing about how he is saying these lines that makes him stand out from the most mediocre alive, and that goes with the majority of the beats on here as well.

“Pardon My Ego” is that rare exception, because the production is actually quite strong, but don’t worry, Logic still takes a dump on it. The flow is fine, but “I ain’t bipolar, Kanye makes me wish I was” is a historically terrible line, making “All my haters can suck my penis,” only a close second on the track.

Continuing to move through the sludge, “COMMANDO,” doesn’t stand out much in the tracklist — it’s a terrible chorus not helped much by some subpar verses — but G-Eazy is on this, and anything that isn’t Logic is going to make my ears perk up by default. He is fine, except for the laughable fact that he thinks this is some all-star collab. Hahahahahaha.

The coup de gras for this album comes with “Icy,” the song that took my final bits of hope about this project and just set them on fire. This chorus sits as well with me as the sound of my alarm clock, with Logic’s hysterically bad voice strung out over and over again as if anyone on this planet wants to hear that. How could you do Gucci Mane like this? How could you.

Let’s just move past “Still Ballin” and “Cocaine,” both terrible songs with awful choruses, but they just aren’t worth it. “Limitless,” on the other hand, needs to be discussed. It starts off pretty normal: A terrible, way-too-long chorus and a lackluster verse with boring production. It gets taken to another level when Logic decides he needs to flex about how big his bank account got from a song he made for suicide awareness. Seriously.

Not only is this one of the shallowest moments in an album filled with them, but he follows this up with a verse with his putrid singing voice, as if that’s what this project needed more of.

The next two songs have references to Fortnite on them, so that’s all I will say about those. OK, one more thing, Will Smith’s verse is bad, the chorus on that song is worse, and Logic’s claim that he doesn’t care about lyrics is just comical.

Logic, just because you decided now to just phone it in here without any of the excitement or energy of the rest of the rap game, doesn’t mean you can just pretend that you haven’t always been a lyrically-based rapper. There’s nothing wrong with that, and anything is better than this pile of slop.

“BOBBY” actually has a good beat and I like the song’s title and how it is used throughout, but there’s just not enough here to make up for the past 12 songs before it, especially with a line about his dick being biracial.

Conclusion

This album can go to hell. It is overly long and overly stupid, and is the ultimate rock bottom for an artist that has always shown potential at the very least. The three songs I enjoy cannot make up for 13 tracks that range from mediocre to painstaking torture for three minutes.

There is no creativity to be found, not in the production, not in the flow, not in the lyrics, and most certainly not from the artist at the middle of all of it. I will take an ambitious disappointment like “Everybody” any day of the week over this lazy, dull, redundant, awful piece of garbage.

Congrats Logic, you have made two clear frontrunners for worst album of 2019, and it isn’t even June yet.

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