On Confirmation!, her second full-length record, Logic1000 embraces every facet of her sound, resulting in a very fun mess.
Release date: October 2, 2026 | Because Music | Bandcamp | SoundCloud | Instagram
A few months back I wrote a review about Avalon Emerson & The Charm’s latest record, where I got a little personal and reflected on my changing relationship to the clubbing experience and club music in general, and how seeing that change in the artistic lives of some DJs who were a constant part of my weekends over the past decade mattered a lot to me. So it should be no surprise that when I got the chance to review Logic1000’s new album, Confirmation!, I leapt at the opportunity. The Australian-by-way-of-Berlin electronic artist did name her previous album Mother, after all, and she has been vocal and open about how motherhood reshaped her artistic career, from production to touring regularly with a baby along for the ride.
The thing that really grabbed my attention about Mother – beyond how good of a record it was – was its backstory: for Logic1000, life postpartum meant having her first break from constant international gigs and getting enough time and space to create enough music to put together a debut record a full decade into her career as a working artist. Not the most common approach DJs take (and probably the only case for lumping together Logic1000 and Nunslaughter in the same category, ever). Two years later, the follow up album takes its name from another significant(-ish) life event, at least on the religious front, the confirmation. Unlike its predecessor, though, Confirmation! does not reflect the artist’s new status in life, but rather, according to her: ‘It’s about feeling aligned with who you are today, while knowing you’ll continue to grow. It’s about having faith in yourself.’
And boy, does this record deliver on that premise. It’s a smorgasbord of house-inspired music that confidently navigates the many different facets of the genre, from the straight up poppy to the deep, sweaty, and soulful. It has the potential to launch Logic1000’s career to an even bigger audience thanks to a couple of really strong Top 40 friendly heaters, but it also includes enough dancefloor ready tracks to keep her old fanbase (in the chronological and biological sense here, if I may add) happy and euphorically raising their hands in the air.
So what can one expect from this ride? Think big early 2000s nostalgia, teenage dreamy bedroom haze, some breathy vocals in exactly the right places, classic house keys, and some big, kick heavy beats. Think comeback Kylie Minogue bangers, dreamy PinkPanthress pop, Disclosure-level anthems, and Donna Summer diva vocals adapted to a post-pandemic, world-on-fire musical landscape. And that’s just the tip of the iceberg.
There’s a lot that I like about the tracks on this record, and I want to dive into that before tackling what I think of this album as a collection of songs. I’ve always had a great time when I got to experience Logic1000 do her magic behind the decks, and her charismatic selection skills translate well to her production work. She comes off very much as a millennial in spirit, and the sounds she pulls from reflect the sounds that, in many ways, shaped my musical upbringing too (the side that doesn’t involve so much screaming and corpse paint, at least): beyond all the reference points already mentioned, there’s a subtle-yet-significant undercurrent of UK bass, trip hop, and dubstep that at least informs, if not directly shapes, a lot of the tracks here. The biggest examples being the FAUZIA featuring “2Love”, which almost sounds like the wispy, whimsical child of a love affair between Sneaker Pimps and Morcheeba; and the KUCKA featuring “All In For You”, where big, propulsive drum tracks transform the dreamy vocal line and starry-eyed ethereal keys into a one-person bedroom rave. The latter is my favourite track here, and it’s no wonder it was used as the album’s lead single.
Other highlights include “Jersey”, featuring Jam City, with its big room house meets city pop and long night ride appeal to a propulsive, fun as hell tune; and “The Only One”, which features Christine and the Queens, an impressive cameo that I hope gets this album in front of a lot of new listeners. It’s a great track, and Logic1000 wisely lets Christine’s distinct charisma, phrasing, and overall sonic presence take center stage, crafting a super effective melancholically uplifting dance pop track that is sure to stop you in the middle of a gym session whenever its played. (Ok, that might be too personal of a reference, but I don’t know about you guys; Christine and the Queens have derailed multiple workouts for me in the past, a true testament to how irresistible their music is. Or how easily I am to be swayed from working out. Tomato tomahto.)
The choice of guests and collaborators here is very well curated, and they all add their unique imprint of their own to their tracks. This helps each track really shine, but also brings me to my one point of criticism here, and that is my view of this album as a whole. Simply put, it feels like a record that’s too eclectic, with Logic1000’s more proper dance-oriented house tracks woven into the vocal-performance led collaborative tracks in a way that deters more than it complements. It doesn’t take away from how much I’ve enjoyed these tracks on their own, but every time I try to listen to the whole thing in one go, I just find myself stopping in the middle, replaying a track, and then queuing up different tracks from other artists that have the same vibe.
In true 2026 fashion, where everything is everywhere at once when it comes to electronic music, and genre-bending is now the expected norm and not the exception, this record does a lot, and that’s both its main strength and main shortcoming. It throws some really great ideas at you and highlights just how talented and masterful Logic1000 is, but it just never stays long enough in one lane to stay memorable and be that record you reach out to over and over again. This, more than any other record I heard so far this year, is the ultimate playlist album; split the tracks and stick each one to a playlist, and it’ll be a highlight almost every time. But put the album on and listen through, and the mood is a little too all over the place, changing shape almost on every track.
Take the wild transition between the album’s last tracks as an example. The title and penultimate track, “Confirmation!” (which starts off with some radio static, a strong hint that Logic1000 knows exactly what she’s doing with her doubling down on genre hopping here) is a big, thumping house track that uses massive bassy synth lines, open hi hats, and cool wordless vocal samples to hurtle your body into the dancefloor whether you want it or not. What follows it, though, is the album closer “Forgiven”, a slow, soulful ballad that pushes itself forward through a strong, processed-just-right vocal performance scorning some cheating, good-for-nothing paramour. Both tracks are great and work really well on their own, but side by side, and especially as an album closing 1-2 punch, they really feel like a record scratching. I still dig it, but it lands a little like a DJ putting on that last track that singles to everybody that the music is over and it’s time to go home. But maybe that’s the whole point, and maybe listeners who are less mentally tied down to the album as its own statement approach would feel right at home here.
As for me, I’m left with a bunch of tracks I’ll be playing for a long time, but probably won’t remember that they were ever housed together under the same proverbial roof. If there’s one development I’d be curious to see Logic1000 take it in that direction, putting out an album that is bigger than the sum of its parts. But even if she never does, I’ll still be spinning her tracks, because when it comes to that, she has the skills locked down.
