With each new Logic1000 release, Samantha Poulter aims to broaden what a Logic1000 track can be. She’s done this most successfully through collaboration, remixing EDM cuts by Flume and Caribou and putting a housey bend on dance-pop singles from Dua Lipa and Shygirl; her breezy, beach-clubby take on Megan Thee Stallion’s “BOA” turned the original’s boom-bap saunter into a four-on-the-floor trance. But in the years between Logic1000’s in-your-face debut EP and 2024’s duller, more careful Mother, her solo work became less singular. Confirmation!, Poulter’s second full-length, is meant to celebrate her multitudes, yet it feels the most by-the-book of any Logic1000 release so far. The featured artists often overshadow Poulter’s hazy atmospherics and looping 808s, while solo tracks like “Sparkle” or “Forgiven” evoke spiritual connection by falling back on churchlike chorused synths and repetitive vocal sampling.
KUČKA’s PinkPantheress-adjacent falsettos bring all the personality on “All in for You,” a breakbeat-driven, funky rumble whose arpeggiating synths whirl around half-baked lyrics like, “I’m followin’ my heart/’Cause it leads to you.” A subdued, bôa-meets-’90s-movie-soundtrack mood brings trip-hop tension to “The Way I Change,” bolstered by reverberating vocals from Swedish songwriter-producer Tiffi M, while the catchy “The Only One” is defined by its Christine and the Queens feature. Poulter complements Rahim Redcar’s singular vocal timbre and run-on hook delivery (“Inthegames ofaman’s heart”) with warm, triumphant synth halos. It’s strong evidence for Poulter’s gift for accompaniment, but it leaves little definitive trace of Logic1000’s sound underneath.
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“The Only One” is one of the more lyrically expansive tracks, even bordering on word salad (I’m still wrapping my head around “The sacred knowledge can forever be found/Wherever you once mind”). Confirmation! is strongest when evoking a mood: Wordless opener “48 Fairmount” is a serene dreamworld, letting bird chirps, muffled laughter, and children’s voices weave in and out of focus as synth wahs and a faraway piano melody situate everything in the hazy zone just before REM. That haziness gets more distorted on the title track, which hits its apex with siren-like oscillations. But structurally, the songs hit their preappointed flourishes and then retreat to their original beat patterns, never wandering too far. Even the Jam City-featuring “Jersey” stays in one place, running around in a hi-hat-heavy circle. The stock ambient house beat and affectless vocal ad-libs in “Sparkle” sound like the scented air in a swanky hotel lobby.
Daniel D`Amico for SANREMO.FM
