365 DAYS OF ELECTRONIC MUSIC IN 365 DAYS

Day 12: Logozo — Sidestepper

Genres: Latin Jungle / Drum & Bass
Year: 1998
Country: Colombia

(This is completely a personal opinion. I’m not a musician and I don't have technical knowledge of music theory; I simply love electronic music and wanted to share this journey.)

This isn't the first time we've visited South America's electronic music scene during this journey, but it is the first time we've encountered such an unusual combination of sounds: Jungle and Drum & Bass fused with traditional Latin American rhythms.

Sidestepper was created by British producer Richard Blair, who moved to Colombia after spending time working alongside legendary singer Totó la Momposina. What began as an electronic experiment eventually evolved into a full musical project dedicated to bridging two seemingly distant worlds: British electronic music and Latin American rhythm.

Today we're talking about Logozo.

It's a relatively short album, but from the very beginning its intentions are crystal clear.

This isn't an album that places Latin music beneath electronic production.

Instead, the Latin elements remain at the center while Jungle and Drum & Bass expand and reshape the experience around them.

And that's exactly what makes the record so fascinating.

Blair understood the enormous influence Jungle and Drum & Bass had on British electronic culture throughout the 1990s. Fast breakbeats, futuristic atmospheres, and urban energy defined an entire generation of electronic music.

You've probably heard these rhythms before.

Some people remember them from cartoons like The Powerpuff Girls.

Others associate them with classic PlayStation games.

But combining them with Colombian musical traditions was an ambitious idea that paid off beautifully.

Despite being over twenty-five years old, Logozo still sounds remarkably fresh.

Tracks like "Logozo" and "Sugar Cane" showcase how naturally these styles complement each other.

Beneath the rolling Drum & Bass rhythms you'll find traces of salsa, Latin jazz, traditional percussion, and organic instrumentation that prevent the album from ever feeling cold or mechanical.

The production story itself is equally interesting.

Many of the recordings were made in Colombia before being taken back to the United Kingdom for additional production and mastering.

I don't know exactly how popular Logozo was in Colombia when it was originally released, but it certainly became a respected record among fans of underground and experimental electronic music throughout the region.

And that's an achievement in itself.

Because every country has its own electronic scene.

Some are massive and internationally recognized.

Others survive quietly beneath the surface.

But they're always there.

PERSONAL CONCLUSIONS

Listening to this album reminded me of a musical project I worked on around 2018.

At the time, I was experimenting with Brazilian rhythms and Lo-Fi Hip Hop using nothing more than an iPhone.

Unfortunately those tracks were eventually lost and never saw the light of day.

Maybe that's why this album resonated with me so strongly.

It reminds me that Latin music has incredible potential whenever it embraces experimentation without abandoning its roots.

I have nothing against Urban Pop.

It's simply the dominant sound of today's charts.

But albums like Logozo remind us that Latin America has always possessed a deep musical identity capable of interacting with any genre in the world.

Traditional doesn't have to mean outdated.

Modern doesn't have to mean disconnected from its origins.

That's why I recommend this album both to listeners interested in discovering a different side of Jungle and Drum & Bass and to anyone curious about electronic music that genuinely preserves its cultural heritage.

You won't easily find it on Spotify.

But the full album is available on YouTube.

And it's absolutely worth your time.

The journey continues.

DAY 12 — LOGOZO

Sabor colombiano...

[ LISTEN TO THE ALBUM ]