Snakeshead

Ghost Train

Java Trench

Still Point

ENC. Rough monitor mix. Recorded 1996.
Sleepjunk outtake.

Pedestrian jazz Dance

Limbo

Preacher recorded at speakers' corner, Hyde Park. Sampler, Alto Sax, Toy Keyboard through delay pedal...

The Key

Thanks to Autechre for this awesome mix, blending many styles and genres. 

This mix is here to put Neuvoids back to life, as the project was paused for a while now. We hope you'll like this mix as much as we did. More stuff coming really soon!

Full tracklist:

r beny - alpenglow 
a0n0 - 1202
Made - Tek50
Humanoid - Last Seen
Sunken Foal - Trabolgan Acid
Stallone the Reducer - Eight Queens Puzzle
Pinch - Loose Cables
Luxus Varta - Cloud Study
Ishtar - Ca Va Craquer
tsx - nachawa
Versalife - Cosmic Language
ESG - UFO
Fumbata - Actuation
DJ Stingray x The Exaltics - Herd Instinct
CONTAINER - Vacancy
Lauren Bousfield - Foster Kid Running Away Again
Sluta Leta - Snöade Läger
Westside Gunn feat. Slick Rick - Good Night
Patricia Taxxon - Ascension
Civic Edits - Hassle
Stranglers - Meninblack
Spunk - La Bimini
Willie the Kid feat. Rapper Big Pooh and Joe Scudda - Game Winning Shot 
Bob James - Nautilus
Oto Hiax - Silt
Minced Oath - A Game Of Skill And Forethought
Beach Surgeon - Four Millions
The Extra T's - E.T. Boogie
Cygnus Ft. Yukihito Tsuge - Smooth Fixation 中毒
tsx x psygod - silberringe swud
zK - ZERO TOLERANCE
KMRU - under the bridge
Pita - Inend
Russell Haswell - Ambient Takedown
BJ Nilsen - Pole of Inaccessibility
Patricia Taxxon - Crocus 1

Autechre - Mix for Neuvoids

Taken from my third album, 'Flesh'.

https://robertlogan1.bandcamp.com/album/flesh-2

---------------------------------------------------------------
‘Flesh’ is Robert Logan’s third full-length album and sees him further develop his idiosyncratic sound whilst continuing to open up new possibilities within the field of electronic music. As ever, Logan’s methodology is rooted in an obsessive desire to push the technology at his disposal to the limit – all his sounds are created from scratch or are created by deconstructing found sounds and acoustic instruments through extreme digital processes. Moreover, most of the album is composed using quarter tones, an experiment which is most in evidence on tracks that feature contributions from Andy Knight [Emporor’s New Clothes] on pocket trumpet. Other contributors include Sarah Sarhandi on viola and drummer Frank Byng [Snorkel, Prescott] who guests on the first three tracks and is a nod to his live band set up. This contrast between ‘live’ instrumentation and his own digital methods taps into some of the themes that Logan is exploring in the music and that give the album its title – ideas about flesh and spirit, technology and nature, mind and matter.

"The album's velocity has the stability of a high-wire walker, but despite outbreaks to the contrary, Logan's ammunition isn't stuck on autofire. Methodical pincer movements puncture sceneries like balloons, and Logan layers technology like a game of skyscraper-high Jenga ('Photovoltaics')… …Logan is out for his pound of 'Flesh', and once again comes back quids in. 8/10" [Clash]

"The album veers between mutant dubstep [Viker Raver] and sledgehammer techno [Straighten], heading into otherworldly, blissed-out opiate moments via analogue alien oddness. Typical of any really good trip, it's really difficult to define. 9/10" [DJ Magazine]

'Flesh, his third album, a musical object so radical and daring it seems not to belong to his time.' [Trax]

"meticulously produced, methodical and brilliant." [Igloo Magazine]

"Flesh is like a lot of things, and yet it has a personality, a usefulness, a quality all to itself. Recommended." [Louder Than War]

"If you haven’t heard his work yet, you’re in for a treat." [Space and Sound]

"Flesh exemplifies a conspicuous degree of confidence and assurance. What's particularly noteworthy is that, although the hour-long collection draws upon myriad styles, among them IDM, funk, folk, classical, and electronica, Logan fuses them fluidly such that no one style asserts itself to the exclusion of others." [Textura]

"…a challenging but ultimately rewarding listen; initially jolting yet meditative, the shadows it creates lure you into an all-encompassing world of unsettling dreams and hallucinogenic scenes. This is uncomfortable in a manner that intrigues and delights as much as it scares – go on, I dare you." [Digital Fix]

Playground

Taken from the forthcoming album 'Brutalist' which is due for release on 10th January 2025.

"London-based composer and artist Robert Logan returns with Brutalist, a profound two-hour narrative of sonic exploration on Slowfoot Records. With 24 tracks spanning clinical dub techno, IDM, ambient, and electroacoustic experimentation, Brutalist is both vast and meticulously detailed—a stunning fusion of minimalism and cinematic texture." [Rendah Mag]

'Brutalist' marks the return of prodigious electronic producer Robert Logan, with his first full album on Slowfoot since 2016’s 'Flesh Decomposed'. Jumping from clinical dub techno to ambient, IDM and electro to leftfield electroacoustic experiments, Logan’s usual electronic / symphonic inspirations and ambitions are felt heavily yet are married to something new - a strange, driving minimalism sits at the core of this body of work. 

'Brutalist' is a potent, labyrinthine experience, containing 24 tracks recorded and produced over a 13-year period. This is ugly sounds sounding beautiful, impossible combinations working as music. Massive, monolithic structures emerging through rain, compositions demanding simultaneous introversion and dancing in underground bunkers. Music for after the fallout - a future reborn, remade from the elements. 

Just as Brutalism emerged in the aftermath of World War Two as an architectural statement of positive intent, an affirmation of the potential of human endeavour and of rebuilding the future after the horror and destruction that preceded it, so 'Brutalist' is a testament to the indomitable soul's capacity to rebuild amidst profound devastation. Robert Logan, faced with a crucible of severe chronic health difficulties, transmuted the pain into finishing an album, emerging with a retrospective work that reflects the spirit of architectural Brutalism – stark, raw, yet strangely beautiful. Amongst other sufferings, Logan suffered a devastating sound accident at the beginning of 2020 and spent lockdown battling catastrophic tinnitus, and this record is his attempt to revive from and appropriate the new difficulty. 

This latest addition to Logan’s oeuvre may be his most daring and experimental yet. It is infused with the same exploratory DNA as his inspirations - ranging from Aphex Twin and 20th-century classical music to Autechre, Photek, and more - but his sound remains undeniably his own. 

A mysterious, unassuming artist, Logan released his first solo album 'Cognessence', aged 19, to critical acclaim in 2007. Mary Anne Hobbs described the music on his debut as “absolutely outstanding… impossible to quantify”, with BBC Experimental calling Logan “…something of a prodigy… a man that is already showing a maturity and a musical/textural understanding that many simply never find.” Since then, Logan has carved out an unconventional career dictated by his ambition to explore the mental spaces sound can conjure. Aside from his impressive slew of solo albums and EP’s, he has made two albums with ambient guru Steve Roach and worked on album projects with heavyweights such as Grace Jones, Brian Eno, Morcheeba, and, most recently, John Grant on his latest album 'The Art of The Lie'.

Brutalist

Microstates

Robert Logan - Microstates [Rendah Mag Premiere]

"...something of a prodigy... ...Robert Logan is a man that is already showing a maturity and a musical/textural understanding that many never find" [BBC]

"The essential last word in electronic soundscapes." [DJ magazine]

"Fraught and broody... ...Logan is versatile and imaginative." [The Wire] 

"brooding fractured rhythms and dark electronic atmospheres..." *** [Q magazine]

"Robert Logan keeps his creations on a tight leash, though; it’s all choreographed scissor-kicks, controlled texture-bleeding, with a dexterity of sound design beyond the brutalism of the cut-and-shut splice-and-dice merchants of mentalism." [igloo magazine]  

"This is awesome. The last word in studious electronica's re-imagining of Grime and Dubstep. At moments it is preposterously architectured, like a housing estate built by Iannis Xenakis hellbent on fully exploring the possibilities of concrete." [Woebot]

“Cognessence is so rich and varied in its moods, and so thoughtfully and expertly textured, that the results pretty much transcend the requirement for comparisons – the album sits entirely on a ledge of its own." [Barcode]

"There are few signs of innocence in his sophisticated debut, either, with Logan taking on the stylistic might of titans such as Massive Attack and Autechre... ...there seems to be little out of reach for such prodigious, sure-footed talent." [Flavorpill]

"Absolutely outstanding...impossible to quantify" [Mary Anne Hobbs - BBC Radio 1]

"Logan shares a foreboding air akin to Burial but with a restless rhythmic undercurrent that sounds like it’s being
gnawed away by metallic ants." [Metro]

"Robert Logan is another one of those dudes who you'll grow to become envious of over time. Repeated listens to his debut Cognessence stir up a bittersweet mixture of awe and envy. This cat is 19 and he's doing things in his garden shed with distortion and electronics that makes speakers quake in a very different way." [Rock A Rolla]

"With his debut album, Robert Logan had set the bar rather high, but he effortlessly surpasses it with this second effort... ...With Inscape, Logan has delivered one of the strongest records of the year so far." - 4.7/5 [Milk Factory]

"Inscape is a technically impressive piece of work, and a treat for all sets of ears that pine after flamboyant, intricate electronica." [Boomkat]

"Those familiar with Robert Logan’s work will know what a pioneering force he is on the electronic music scene.” [Buzzin Electronic Music]

"Logan’s first album Cognessence was described as “the essential last word in electronic soundscapes” but I would say that Inscape is the essential first word in electronic soundscapes as he’s ripped up the rule book with this one and started again." [Fly Global]

"Logan’s music is strong enough to standout on its own" [Headphone Commute]



Playground

Robert Logan

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