#the way its lyrics perfectly sum up my current mental state

[nemotakeit]

suddenly Snap Back has me in a chokehold god i cant get enough of this song

[retro-rudy]

Logic- No Pressure Album Review

In summation of Logic's career, the foremost qualities that can’t go unnoticed is the dedication, respect and admiration the man has always had for the art of hip-hop. From the beginning, dating back to his Young Sinatra mix-tape series, in an era where trap beats were overtaking hip-hop, Logic arrived as a breath of fresh air with his conscious driven lyrics and entertaining flow, fueled by the boom-bap style he enjoyed from earlier influences such as Wu-Tang Clan, A Tribe Called Quest, and Mos Def. Logic lived up to the hype and expectations by delivering a successful debut album and painting a promising future, in which, considering how the industry measures success, Logic went onto surpass by reaching the heights of mainstream play and various award nominations with his next 2 studio albums. Amid the commercial success came the broader spotlight, the very one that emphasized his every move, and drew fluctuated criticism to an all-time high for the Maryland emcee. The challenges for Logic however were not the subjective opinions people had towards his music, but rather stemmed from the more personal jokes, memes, and the non-music related opinions that seemed to overshadow the music he was creating for audiences. In 2019, these unfortunate circumstances led Logic to step away from music and social media for some time with no public explanation to the reasoning of his hiatus. That was until the ever so unpredictable 2020 saw Logic emerge with a staggering album announcement accompanied by an unexpected retirement announcement.

Logic, returned in 2020 as many anticipated, with his 7th and final studio album, No Pressure. The joint announcement of album date and retirement came on July 16th, just one week before the set album release date. While the announcement was abrupt and left many with lingering questions, the 1 week wait would eventually lead fans to the clear reasoning of his decision through No Pressure’s foundation of honest and convincing lyrics.

Right out of the gates, Logic sets the tone and premise of the direction he will take the album on the opening track, No Pressure Intro. Logic applies audio from the famous Orson Wells “The Hitchhiker” introduction, which Logic chops and edits perfectly to bring us into the album. Within the edits, Logic cites No I.D and The Incredible True Story to give the intro a fun twist that adds the thematic touch many have grown accustomed to in Logic’s discography. The fundamentally ear-hitting boom-bap beat produced by NO I.D could not have been curated any better for Logic on the opener. Logic and the instrumental go hand in hand as he delivers bar after bar for over a minute and a half before reaching an abrupt interruption that catapults you into the next track. “B*tch I’m too alive, like twins in a womb, come hither, consume” and “But it cost a fee to be the boss it cost to be, over possessions like an apostrophe.” are some of the more standout bars on this intro.

           On No Pressure, Logic’s overall mood comes off positive, natural, motivated and unforced which benefits each song on this record in its own way. On songs such as Hit My Line, Celebration, and Amen, Logic’s unhinged and unpressed mind state injects everlasting life and validation to the long peace, love and positivity advocate. Logic’s comfort with his current-self shines through on Hit My Line with a confident, worry-free chorus and candid verses as he persuasively calls on god for a fixing of humanity. Logic’s positive drive has been a stapled message within his raps since the beginning of his career and the messaged remains well intact on Hit My Line and the entirety of this project. The confidence he shows when he says, “They say they don’t want messages in rap, it ruins the art. Well here I am people, yeah, now tear me apart.” further endorses his attempt of leaving it all out for this record with no regrets. Even on the track, Celebration, where Logic taps into his braggadocio side of rap to pen out the worry-free mindset he now has and how there is nothing for him to prove to anyone, you can hear the freeing mentality he has as he spits:

“It’s been a minute now; my style is feeling infinite now. Used to people pulling me down, it ain’t shit to me now. Don’t let it get to me now: threw out my phone, they can’t get to me now.”

These tracks dwell on a cheerful and flamboyant tempo that Logic ceases throughout the entirety of the tracks. The same can be said for songs like Dadbod, Perfect, and 5 Hooks, that show versatility in terms of beat choices and the ability of Logic to naturally execute each varying flow that comes off as effortlessly in this stage of his career.

           Meshed in with the collection of the more upbeat and elated-expressive tracks, Logic sprinkles in tracks built off well executed hip-hop samples that serve up a heavier dose of conscious articulated bars. Dating back to the Young Sinatra mix-tapes, Logic has never been shy to wear his influences on his sleeve, and tracks like GP4 and Man i is prove this to the be the case in present day. GP4, a nostalgic tie-in with Logic’s Growing Pains�� song collection, which we last heard on Under Pressure, contains a sample constructed from OutKasts’ Elevators song from ATLiens. Given the track record of various and well-respected hip-hop samples Logic has placed on each of the Growing Pains’ tracks, this one fits cohesively with the bunch. Much like the previous Growing Pains’, Logic leans on his story telling to paint witty and mental pictures of a variety of thoughts floating in his mind. From adolescent memories, to admitting his once determination of becoming the greatest rapper alive now being inessential, Logic goes onto acknowledge how the greatest rapper alive might not even be rapping and is instead stacking groceries at an ordinary 9 to 5 with no care in the world, resembling much how Logic feels at this point in his career. On Man i is, Logic’s maturity and growth flourishes among the inspired instrumental created out of an iconic mashup consisting of OutKasts’ SpottieOttieDopaliscious, Tarika Blues’ Dreamflower, DJ Screw and Pimp C. Logic self-reflects as he looks back on where he came from and what he endured, to which through it all has led him to this point in life where he can confidently say he is sincerely proud of the man he has become. In hip-hop it’s made well-aware that high expectations are to be met when paying homage to classics and Logic absolutely fulfills the task on this one in a form that without a doubt places Man i is among the most prominent tracks within his discography. Open Mic\\Aquarius III keeps Logic on the lyrical prowess and serves as a bridge for fans to connect with the bar for bar artillery the emcee has long had. The beat switch that takes place in this track is superb with the pure hip-hop cypher sound of Open Mic interestingly transitioning into the more jazzy and mellow Aquarius III. The high-volume of bars continues immediately on the following track, Soul Food II. The deserving sequel to one of Logic’s held in high regards track off his debut album Under Pressure. Logic retains the format of spitting a series of bars as he did in the original Soul Food. It’s warming and evident to hear the growth in both, his mentality as a human and abilities of his craft as an artist when you hear both songs in sequential order. In Soul Food II, mentally, Logic remains as humble and passionate as ever while sonically the tone and delivery of his raps resonate with the listener enough to have them capture and break down his every word. This along with the metaphors within this song is what prompts Soul Food II to standout on its own and give its predecessor a run for its money, and dare I say, maybe even edge out the original.

           On the last leg of the album is where I find Logic taking the listener towards the conclusion of the album on a pure, passion driven energy specifically due to the openness of Dark Place, and the spiritually motivating Heard Em Say. Dark Place is the first of its kind for the emcee as it is by far the most personal track Logic has ever released. While Logic has been open about personal situations before, it has never been to the degree and sentiment he lets out on the track. What was meant to remain an unreleased and personal track shares a transparent view of his feelings regarding the real toll the amount of negativity and criticism took on his mental state.

“Writin’ rhymes was easy before the fame. Now I’m constantly overthinkin’ every line, it’s a shame. Rap used to fill me with joy, now it’s nothin’ but pain. I’m stuck in the game, tryna get back from where I came.”

 The entire song contains some of Logic’s most honest and heart-breaking lyrics that transport you directly to the most difficult year he experienced as a mainstream artist. “I’d love to end this on some positive shit. Hit you with punchlines instead of some derogative shit, but it’s okay to be sad sometimes and tired of shit.. I guess.” Logic becomes as relatable to the listener as ever with his sincerity on here. And while the song might show vulnerability, it’s okay. In the end the fan and artist label are irrelevant compared to the human label we all fall under. Another evident example of the earnest connection between Logic and his Rattpack. Fittingly so, the best in my opinion is saved for last. Heard Em Say easily ranks in the top 5 of Logic's entire released discography for me. From self-producing the song, to writing one of his most heartfelt verses, the song sums up as one of Logic’s most range defining cuts from an artist standpoint. The 3rd verse on Heard Em Say is one of Logic’s best verses from his discography, and impressively so isn’t due to the depth of lyricism, but due to Logic’s infinite passion heard throughout the verse. Logic grabs you with every word and instills raw emotion and inspiration with a hopeful send off in quintessential fashion Logic has long been known for.

After Confessions of a Dangerous Mind failed to reach favorable appreciation within hip-hop enthusiasts, and his fan base respectively; the project left many wondering if perhaps Logic’s better days were behind him. With unfavorable reviews and criticism weighing heavily on the emcee, Logic spent the better part of 2019 and 2020 writing raps vigorously on his Louis Vuitton rhyme book as he mentions on the freeing Amen. Logic stated in an interview with Nick Huff Barili of Hard Knock TV, that No Pressure essentially came to fruition out of his essential love for hip-hop no longer being intact, before coming to the conclusion of ending his career and delivering a final project in the form of which he came into the game with, a project he would give his every ounce of love for hip-hop to, to showcase pure hip-hop built on a foundation of bars and verses made up of the emcee’s best abilities. With executive production from No I.D, No Pressure achieves this and sees Logic set the record straight in his place among hip-hop. In retrospect, while the time apart might have been difficult, I believe both Logic and fans of Logic in the long run reached a perfect ending of a prominent and inspiring career. No Pressure serves as a celebrated accumulation and reflection of the inspiring emcees’ hip-hop career, the final chapter that gives the fan closure and comprehension for his farewell. Logic is now free of pressure and has found happiness by obtaining the greatest blessing in life, family. Thank you for delivering us this classic, and the best of wishes on your future endeavor Bobby. Final rating: 10

[recentanimenews]

INTERVIEW: So I’m a Spider, So What? Lead Voice Actor Aoi Yuuki

  The upcoming Crunchyroll Originals series So I’m a Spider, So What? will be making its way to Crunchyroll in January 2021, and to celebrate the upcoming release, today we are publishing some exclusive interviews with the voice cast of the show! If you want to check out the original Japanese interview, you can do so right here. In this interview, voice actor Aoi Yuuki (Madoka Kaname in Puella Magi Madoka Magica, Diane in The Seven Deadly Sins) talks about what it is like voicing a spider, all the internal monologues she voices in the series, singing the ending theme, and more! 

  Also be sure to check out the interview with voice actors Shun Horie (Shun) and Kaito Ishikawa (Hugo) right here!

  The translated text follows.

    “I” was reincarnated in another world... as a spider the weakest of all creatures. How will “I” survive in a dungeon filled with fierce, powerful monsters?!

  The TV anime So I’m a Spider, So What? is set to begin airing in January 2021. We’ve interviewed the main cast for a special program to be aired right before the series premiere. For our first interview, Aoi Yuuki-san, the voice of “I (Kumoko),” will tell us about the highlights of the series as well as some behind-the-scenes stories!

  I’m sure you never expected to be reincarnated as a spider.

  Yuuki: That’s for sure! But another character I voiced not long ago, Gwen in Spider-Man: Into the Spider-Verse, was also a pink and white spider, so I guess I actually have a bit of a connection with spiders. I’m definitely not into bugs or anything, but since Kumoko and Gwen had such cute designs, I’ve slowly grown to like spiders a little more.

  Do you remember your first impression of the novel series?

  Yuuki: Mainly that it had a lot of words (lol). I first came into contact with it in the form of the manuscript I used to audition, and I remember being surprised by how great each sentence was. Another interesting thing was that it had a much harsher setting than most stories about being reincarnated in another world. Usually, the protagonist starts out at a high level and immediately gains really strong powers, but this one reincarnates as the weakest of all monsters, in a really tough environment and with very little room to develop her abilities, so that made it seem new and unique.

  Kumoko does seem to just barely squeak through all her battles.

Yuuki: That’s the interesting thing about a story that’s specifically about how she survives as a spider. In many isekai stories, the protagonist’s knowledge from their former life aids them in their new world, but in So I’m a Spider, So What?, she has to both learn and mature as a spider.

    Was it easy for you to grasp what kind of character Kumoko is?

  Yuuki: Yes, I could tell right away that she was a very positive girl who recovered quickly from setbacks, and when we started recording, the director said we’d be fine as long as I had those two qualities pinned down, so it was easy to grasp what her personality was like.

  So you would sum it up by saying she’s very positive?

  Yuuki: This sort of connects to that, but she really likes to eat, and one of her fondest hopes is to eat lots of good food. When someone is surrounded by enemies and doesn’t even know where they are, I think they’d want to give up. But not only does Kumoko fight and never give up, she also finds the hope to stay alive. I think that’s really amazing.

  Looking at the original novels, she seems to eat a lot of very strange things.

  Yuuki: Thanks to that, I now know some new ways to spit up food (lol). There aren’t a lot of titles that include so many ad libbed spitting-up scenes, so I’ve been trying some different variations. But as the story progresses, she starts to find some monsters that taste good. Before I knew it, I started to think they looked delicious too, even though I’m playing a monster myself, so my mental strength has been improving along with Kumoko’s.

    Kumoko is just a small spider in the story, and seeing how she fights monsters that are much bigger than her, some in large groups, is one of the highlights.

  Yuuki: I guess she must be really smart. There’s something philosophical about how she develops a spider’s quick wit, and it helps her persevere in battle. I think it’s really cool how she thinks quickly while also moving quickly.

  Something tells me she’ll have a lot of internal monologues, too...

  Yuuki: The sheer number of words in this story makes it a challenge!

  So your initial concern carried over into the recording?

  Yuuki: It’s physically difficult to fit so many words into such a limited span of time. I thought I was actually pretty good at speaking quickly and working various kinds of expressions into a single sentence, but a lot of moments in this title shook my confidence a bit... That just makes it even more fun when everything fits just right, though. I often compare voice recording to rhythm games, so when particularly difficult recording sessions go well, it feels like I just landed a great combo and hear a long string of “Perfect! Perfect! Perfect!” And if a “Great” or Good” makes it way into that, I get annoyed and want to do it over (lol). So I feel a particularly strong sense of accomplishment after a successful recording session for So I’m a Spider, So What?

  It sounds like the recording has been pretty harsh.

Yuuki: It might be because I get too eager, but there have been moments when I had to ask for a break due to low oxygen levels. It’s rare that I get so out of breath during a recording, but that has happened at least once per session with So I’m a Spider, So What? It’s rough, but I know it’ll pay off in the end.

    How do you prepare for the role?

  Yuuki: Everything she thinks and feels is expressed in her lines, so even without trying too hard to understand or add flavor to them, I can clearly tell what kind of character she is and what she’s thinking. I owe that to the original novels and the scripts. Kumoko is very good at explaining things about herself, meaning all I need to help me understand her more is the script, so it hasn’t really been necessary to give too much thought to preparing for the role.

  Did the director or sound director give you any particular instructions?

  Yuuki: The one that left an impression on me was that they wanted the battle scenes to look really cool. I was asked to include comical battle cries as well as calmer, more serious reaction sounds. In particular, when she’s concocting a strategy or engaged in a do-or-die battle, even I’m surprised by how cool she is. That said, about 80% of it is silly gag humor!

  It sounds like the recording sessions are going smoothly.

  Yuuki: Yes. I’ve come to understand what kinds of reactions the director wants and the right timing for them, and it feels like we’re on the same wavelength now. Since it’s a comedy series, it’s important to know how its ups and downs should flow as well as where and how to insert punch lines, and sharing ideas until everything fits together perfectly is important since everyone interprets things differently. But we’re in a place now where I can offer suggestions as to what the director might want from me, so it’s fun thinking about what I’ll do in the next session.

  Incidentally, the original novels follow the hero’s side of the story concurrently with Kumuko’s. How have you viewed that?

  Yuuki: To be honest, I haven’t touched on any of the hero’s side of the story at all. Of course, I’ve read the scripts, so I know what happens, but they’re handled separately in the story, and given the current state of the world, all of us voice actors have been recording separately. I currently have no idea what kind of acting the others are doing right now, so I’m also looking forward to how their two stories will eventually connect.

    You also sang the ending theme, “Theme of Kumoko-san,” from Kumoko’s perspective. What kind of song is it?

  Yuuki: At 400 BPM, it’s a super high-tempo song! And the lyrics are fitting for a 400-BPM song, so I hope everyone will listen to the effort that went into them. Even I was shocked by how far a person can stretch their own limits. And the lyrics are representative of the story, so I think people will be able to imagine the various expressions of Kumoko when they hear it.

  It sounds like a very tricky song.

  Yuuki: It has a level of excitement that I had never seen or heard before. But learning that I could actually sing such a difficult song gave me a lot of confidence. Of course, I got through it with help from lots of people, though. In that sense, both the anime and the ending theme made me feel like I was seeing things I’d never seen before.

  Finally, please share a message for the fans looking forward to seeing the anime.

  Yuuki: It’s a pretty dark, harsh story about how Kumoko struggles to survive in a world filled with monsters, but at the same time, it shows off Kumoko’s sillier side with gag humor, making it a very unique series. It somehow comes across as comical even though the main character is completely serious, so I hope everyone can relax and enjoy it for the fun series it is. It also offers different tastes by following both Kumoko’s story and the hero’s story, so I think people who like to speculate will also find it satisfying. Also, I hope everyone will remember that acting out Kumoko consumed tremendous amounts of oxygen (lol).

      Kyle Cardine is an Editor for Crunchyroll. You can find his Twitter here.

By: news+feed@crunchyroll.com