Eddie Logix is a Detroit producer/sound engineer who has been making a name for himself from what I researched on the man. He has released quite a handful of projects- check his bandcamp for more details- and his latest effort is a 16 track instrumental project titled Ohana. The project is pretty dense, off kilter and engaging. He uses obscure samples, throbbing synth bass lines and drums syncopated in such a way you’d think it’s from a whole different era.

Need I say more? Hit the play button and get with the program yourself.

On Eddie Logix

A founding father of the #CoOwnaz movement and a dexterous dictator of taste, Detroit producer and multi­disciplinary creative Eddie Logix plays an integral role in saturating the Detroit music scene. From singing along to Marvin Gaye’s “I Heard it Through the Grapevine” on his Fisher Price tape recorder as a child to studying under the instruction of Master Engineer and Motown Alumni Bob Dennis, Logix has become a seasoned audio engineer known for concocting hypnotic beats and curating collaborations that push and integrate genres such as hip hop, electronic, indie pop and R&B. Put simply, according to Nicholas Young from The Machine, “the man is a genius” who is “singlehandedly responsible for putting

Motor City back on the map when it comes to honest, raw hip hop”. Before releasing Eddie Logix Plays Lykke Li and his upcoming beat tape Ohana, Logix produced and rapped in hip hop trio MidCoast Most as well as Progress Report with D. Allie, and later supplied the sultry sounds that carried Laura Finlay’s ethereal vocals in the dreamy pop duo Sleepless Inn. Logix’s vibrant beats can be heard at various venues around the city as well as pulsing through the walls of the collaborative recording studio, Assemble Sound where he is currently a resident.

Eddie Logix On Ohana

“Ohana” means family and the inspiration behind that title and this project comes from being grateful for the people who have stuck around me for so long and the opportunity to continue making music on my own terms for all these years. It’s just another continuation of the #CoOwnaz culture and a way of giving T.Hanks.

The beats come from experimenting with new sounds, samples, and techniques after much of my gear and files were stolen in a studio break in last year. It’s the product of starting over from scratch, working at a new space in Assemble Sound, and listening to/reading a lot of John Cage.

I wanted to release Ohana on tape because I really only listen to cassettes and vinyl at the crib and I know I’m not the only one who does this so I thought it was necessary for this beat tape to be listened to on an actual tape. The length and sequence of this project was always designed for a 30 minute cassette release.