In the backpacker heyday of Sandbox Automatic and Hip Hop Infinity, louis logic was a booze-soaked jester tucking everyman musings beneath snarky punchlines accompanied by the production of J.J. Brown, Celph Titled and Memo. The early momentum of his career, marked by positive press, Eminem comparisons and collaborations with the Demigodz, slowed somewhere along the way between chasing skirts and blackouts on tour as Louis lost proper sight of his craft. Though he continued touring and quietly plotting his next big move, seven years passed between official releases.

louis logic announced his return to the indie rap world through a series of comeback shows in Brooklyn in late 2012 and early 2013. As he debuted challenging new material and won over notoriously folded-arm New York City rap fans, one could see the spark return to his eyes and know that for the first time in a long time, it was all about the music.

louis spent the gap between Fat Beats release Misery Loves Comedy and Look on the Blight Side studying voice, piano, and music theory and collaborating with Copenhagen-based surf/hip hop/Balkan fusion band Spork Kills, garnering MTV attention in the process. Now a full decade removed from his underground classic Sin-A-Matic, Louis has matured into an eccentric auteur brandishing newfound crooning chops under self-produced, sample-free arrangements.

On Blight Side, louis outlines the pitfalls of his career (“A Day Late and a Dollar Short”), turns a rapid-fire sociological lens on trust fund hipsters in an ode to a former producer (“Chip Off the Old Blog”), discusses the ugliness of machismo and homophobia (“Big Fish Eat the Little Fish”), and stares down defeat and existential malaise (“Look on the Blight Side”), all with the wit and grinning self-deprecation one has come to expect from the man since “Factotum” dropped way back in 1999.

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