On his second solo album, DJ Logic creates a true anomaly in the electronic jazz genre: a set that remains true to the improvisational spirit of jazz and makes you want to shake your ass. Unlike recent techno jazz albums by artists such as St. Germain, the songs on The Anomaly never drift into dull repetition — each tune constantly surprises with unexpected turns. The Anomaly is a bit fresher and funkier than his equally excellent debut Presenting Project Logic, which tended toward the dense and industrial. Logic earned his pedigree working with latter-day jazz saints such as Vernon Reid and Medeski Martin and Wood, and both Reid and Medeski lend a hand to their disciple on this album. In particular, Medeski’s funk organ gospel adds an extra kick to “French Quarter,” a nasty jam replete with a Tower of Power-like horn refrain. He and his excellent band Project Logic dip into trip-hop with “Black Buddha,” layering velvety sax and flute melodies and ambient accompaniment. “Soul Kissing” finds Logic delving into Eastern rhythms with a violin playing the main melody and tablas filling out the sound. He even pulls off a deft hip-hop tune on “The Project,” thanks to Subconscious’ heady rap. Logic experiments on several tracks to varying success, including a bizarre meld of industrial and aria on “Hip-Hopera,” which sounds like an eerie ghost haunting a sheet metal factory. But no matter what concoctions he tries, Logic keeps it lively and intense. The Anomaly works well whether you’re on the dancefloor or sitting on the living room floor.
DJ Logic: The Anomaly