The Australian producer's latest project creates a sense of spaciousness, tracing the almost forgotten flutters and rushes of a good night out.
Logic1000 debuted in 2018 with an undoubtedly excellent self-titled EP, packed with tracks that tip between techno, IDM, and garage. The record put her firmly on the map as a producer to watch, and dance heavyweights—most notably Four Tet—championed Logic1000 consistently. But while the EP was a strong introduction to Logic1000 as an artist, she herself has admitted that the production was scattered.
Recently, Logic1000 has been curating her own musical identity through remixes; her work for Låpsley, Christine and the Queens, and Caribou has allowed her to find a throughline in her own sound through the additions of her signature clean garage beats and hook-bolstering harmonies. These act as a strong introduction to her latest EP You’ve Got the Whole Night to Go and give a taste of Logic1000 as a producer with a keen ear for melding the underground with pop-worthy hooks. Though just four songs, it shows Logic1000 flexing her stamina and spinning ideas more consistently across the EP.
Central to the feel of You’ve Got the Whole Night to Go is a sense of expansiveness throughout, from the wafting trance drones and the vocal samples fed back and forth through a tape machine on “Like My Way” to the airy, echoing melody and bouncing bassline of “Medium” that sound as though they’re reverberating around an empty dance floor. This spaciousness unites each track in spite of the EP’s varying genre aspirations—“I Won’t Forget” gives lighthearted house; and “Medium” is eclectic and glitchy, whereas “Her” ends the EP on a downright dirty, sweaty, techno note. It all grants Logic1000’s productions a touch of something bigger that stretches outward and upward, hinting at her ability to reach beyond the underground to break into a wider consciousness.
You’ve Got the Whole Night to Go also works as a concept album, tracing the almost forgotten flutters and rushes of a good night out. “Like My Way” functions as a pregame track, the light trance paired with sharp hi-hats and a cheeky ascending bassline echoing the heady mixture of vague excitement and nerves. The way the muffled melody of “I Won’t Forget” gradually becomes clearer is reminiscent of the sudden clarity of music that hits when the club doors fling open. A strained vocal sample cuts through with “I won’t forget,” but the rest of the sentence is lost in the first muffled voice, as though the remembering is more important than the thing remembered. The immersive hard techno of closing track “Her” recalls that exact moment halfway through the night when you feel you could continue full-throttle forever. It seems cruel that a release that speaks so potently to the club experience probably won’t be played in its proper setting for a while, but for the moment, it’s a necessary simulation of it.
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