Logic1000 on lockdown, remixes, co-signs & her new EP
Berlin-based DJ and producer Samantha Poulter – aka Logic1000 – jumps straight into 2021 with a new EP, You’ve Got the Whole Night to Go
The Skinny: Can you tell us a bit about the making of your new EP?
Logic1000: I made it during peak lockdown here in Berlin. At the time I didn’t have my studio set up yet, so my partner and I made it in our living room. I think the whole lockdown thing really influenced the sound of the EP. I was craving the outside world – seeing friends, playing shows – so I ended up making something quite clubby and fun. The first track I made off it was I Won’t Forget, which I was really happy with, and it motivated me to keep going despite the circumstances. I went into making that track with the mindset of escapism. It felt right to me to make something that was uplifting and euphoric, because the world was feeling really dark and bleak at the time. The other tracks on the EP are less euphoric and probably a little more reflective of how I was feeling, but still maintain that element of ‘I desperately want to have fun again’.
You’ve said that this EP sounds more cohesive than your self-titled debut. Did you have a better idea ahead of making it of how you wanted it to sound, and in turn find your own distinctive sound?
It’s hard to reflect on your own sound, because it’s hard to maintain objectivity with your own music. But I definitely stand by the fact that it has a way more cohesive palate than my first release. I think this is purely because I used particular sounds and samples throughout the tracks on this new release, which inevitably gives it more consistency.
With the first EP I was so new to making music and the Logic project was so young; it was simply a collection of tracks that I was proud of and was willing to let the world hear. But with You’ve Got the Whole Night to Go I had more of an idea of the mood I wanted to create with the release. As I said earlier, I wanted to make music people could escape to. Generally speaking though, I go into a writing session without a clear idea, rather I go in with a mood or feeling. Then, in the process of making the tunes, my ideas become a lot more solid and everything falls into place. I work fast and make hasty decisions. I know if I like a track within the first 15 minutes of working on it. So yeah, to answer your question, I knew the mood I wanted and built it up from there.
The EP was made during lockdown – did you find yourself more inspired and focused to make music during that time?
I actually felt quite inspired to make music during lockdown. I didn’t have shows to play or social commitments, so I had all the time in the world to create music. I definitely struggled at times though. During those times when I would feel down, unmotivated or just uninspired I would rest. Rest is so important to me and I feel so blessed that whenever I need to I have the privilege to do that. I don’t take that for granted. Rest is so powerful and rejuvenating, and I think half the reason I was able to punch out a release is because of the downtime and not putting pressure on myself to be productive all the time.
Were there any other things you did to stay creative during lockdown?
I found a lot of joy in cooking, which I think is quite a creative process. I would tamper with my family's Burmese recipes and I bought a KitchenAid mixer so I could bake cakes. My dad is British and his mum was an avid baker, so I felt like I should be able to nail some cakes, but I was wrong. I think I need to stick to curries.
I also did a writing course during lockdown which was super fun. I would love to one day have some kind of online publication or podcast where I talk to musicians and music-adjacent people about mental health. This idea is something I’ve wanted to do for so long but haven’t got around to it. I don’t really know where to start.
You’ve remixed tracks for artists like Caribou, Christine and the Queens and Låpsley. How do you approach remixes in order to maintain the track’s identity while putting your own twist on it? Is it a process you enjoy?
I adore remixing tracks. I find it super fun and challenging and interesting work. I generally know if a remix is going to work from the moment I listen to the original. There are certain elements I look out for, like a catchy hook or vocal, and if I like the general mood of the original I know I can work on it. I’ve been so lucky to remix some amazing artists and I found it really challenging to rework something that is already flawless. An obvious way I maintain the track’s identity is I try to use as many elements of the original as possible but switch up the drum pattern or melodic elements. I really hope to keep reworking tracks next year and beyond because it’s something that brings me great joy.
Four Tet was a big early supporter of yours, and you’ve played with him on a few occasions. How important do you think those big name co-signs are early on in someone’s career?
Yes, Kieran has been a massive support for me. I owe a lot of elements of my modest success to him. I think co-signs really help young artists gain momentum and exposure. I know I don’t have a massive following but I always try to play underground artists as much as possible and will continue to do that throughout my career. Kieran is so forthcoming and generous with his advice, and sometimes I will send him demos for feedback. He always has amazing ideas and it’s no wonder he has found such immense success in music. He’s a genius!
How do you feel about potentially returning to the gig/festival circuit this year – are you apprehensive or excited, or both?
Definitely both! I think after lockdown everyone is feeling a little anxious about socialising again. Well, I know I am. Having so much time away from shows and busy airports means I’m a little scared of how I will cope when things go back to normal. But I find comfort in knowing we are all going through this together. I think after the first couple of shows things will feel ok again in terms of social and performance anxiety. It’s kind of a thrilling thought.
You’ve Got the Whole Night to Go is out on 22 Jan via Therapy