Thanks to Blurt Magazine for reviewing my new record ADIEU. in this month’s issue. 4 stars!!! 🙂

From Blurt Magazine: (September 2016)

Logan Lynn: ADIEU.
Rating: 4 out of 5 stars

The Upshot: Thanks to smart lyrics, a strong mix of synths and sharp guitars and a knack for mixing in some truly inventive elements, Lynn moves well past what could have easily just been standard catchy pop songs.

BY JOHN B. MOORE

The last time Logan Lynn put new music out into the world it was a charming Miley Cyrus cover about three years ago. His latest album, Adieu, is aligned much closer to classic ‘90s college rock – everyone from Liz Phair to the Dandy Warhols – than to ex-Disney stars turned Molly-diggin’ pop divas, though played through a classic theatrical rock filter.

As Lynn described the sound recently, “there are moments on this record that feel really jaunty and bratty and as we were recording them I tried to keep this mental image of myself with a dancing cane, clicking my heels in the rain and moving through these very serious themes with a spring in my step, front and center. The whole thing is very jazz hands mental health crisis, frankly.”

So, yeah, pretty apt.

At 15 tracks, Lynn manages to Read the rest of this entry »

Big thanks to Spain’s Mondo Sonoro Magazine for choosing my new record ADIEU. as a red star top pick (alongside Frank Ocean’s Blond!!) in their September 2016 issue. 7 out of 10 stars!

They also posted my new video “Go There When You Want To Be Loved” alongside the web version of the review. Click HERE to check it out, or keep reading for the transcript of the review below the video.

From Mondo Sonoro:

“Estos no han sido unos buenos años para Logan Lynn. El estadounidense en un corto plazo de tiempo perdió a su chico y a su querido perro, y con esas ausencias en su vida los fantasmas de los trastornos mentales y el suicidio volvieron a acecharle. Aunque eso sí, lejos de decantarse por la autodestrucción, ha aprovechado estas vicisitudes para crear un álbum catártico en el que, sin tapujos, se desnuda como nunca con la pérdida del amor como principal leit motiv.

Aparcando su conocida faceta electrónica (aun habiendo números como “Way Out” o esa “Oh Lucifer” en la que vuelve a hacer gala de su compromiso con la comunidad LGTB) Lynn y su fiel colaborador Gino Mari tanto se dejan querer por el pop californiano (“Can You Get Me Off?”) como rinden pleitesía a sus admirados The Dandy Warhols (en “The One”) en un disco igual de bello que visceral.”