Logan Lynn
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Logan Lynn

Portland, Oregon, United States | INDIE

Portland, Oregon, United States | INDIE
Band Pop EDM


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"Logan Lynn Discusses His Return To Music, His New Single "Turn Me Out, and More"

Gay singer-songwriter Logan Lynn began professionally making music nearly 15 years ago. Since then he has released a slew of albums, has seen his videos featured on LOGO and MTV, performed around the world.

In 2010 Lynn announced that he would be taking an extended break from the music industry to work full time for LGBTQ equal rights at Portland’s Q Center. He even released an album, “I Killed Tomorrow Yesterday,” with Producer Bryan Cecil and gave the proceeds to Portland’s Q Center, the only LGBT community center in the Pacific Northwest.

Now he's back with a new single, "Turn Me Out" (see the video above), and an upcoming album. We caught up with Lynn to find out what he's been up to since he left the music industry, why he's coming back, what to expect from the new album and more.
- The Huffington Post

"Logan Lynn: From Fundamentalism To Raunchy Rock Star"

Indie rocker Logan Lynn’s life story is indeed a wild one. Somehow, a kid who grew up in a fundamentalist Christian church where even musical instruments were too secular to have around has developed into an innovative adult musician with a dirty-honest edge. “Turn Me Out,” the debut track off his upcoming fifth studio album, Tramp Stamps and Birthmarks, is blunt, raunchy, and fun. And people are turning in; the track quickly became a top 30 hit on iTunes, and audiences are eagerly awaiting the next single, “Do You Want Me,” scheduled to be released in September. Lynn chats with The Advocate about his eviction from fundamentalist church life, the drug use that almost killed him, and how music saved him. - The Advocate Magazine

"Logan Lynn feature story in Portland Weekly Newsmagazine "Just Out""

"Rock Bottom Your Way To The Top"

Logan Lynn: Making Music That Matters

by Ryan J. Prado

By the time you read this, musician Logan Lynn will have undoubtedly dazzled a sold-out crowd at the Crown Room’s PDX Pride Kickoff event, alongside New York City’s Street Hero and a cast of DJs. There’s a good and simple reason for confidence in what is as of press time a foregone conclusion: Logan Lynn is one of Portland’s best original artists.

There. Borrowing a well-worn queer rallying cry, “It’s official!”

The story of Logan Lynn’s music has its origins in his frequenting the warehouse party/techno din of the Midwest as a teenager.

“I was drawn to electronic music first because I stumbled upon the synthetic freedom that came with the drugs and dancing at the giant warehouse parties I was attending,” explained Lynn.

After beginning his journey in the realm of the working DJ, Lynn experienced an epiphany of sorts that would help guide him into what is currently a bona fide creative avalanche.

“At some point the techno crossed wires with all the years of listening to indie bands with female singer/songwriters, and I was left with sort of a combination of the two genres, but from a dude’s perspective,” said Lynn.

Almost 10 years passed before a friend of Lynn’s convinced him to share his music on MySpace. Within a year of his 2006 web debut, Lynn took the stage for his first real show, in front of 400,000 people at the Folsom Street Fair in San Francisco – all because the director of the event had come across his music online.

“I guess I was out of touch or something,” Lynn said. “Up to that point I had never really made the connection that there were millions of listeners at my fingertips and all I really had to do was get their attention.”

Now that he’s got it, Lynn has been steeped in a whirlwind of songwriting, beat-making and self-analysis, yielding the fruits for his new album, From Pillar to Post. The disc is due for release this fall on the Dandy Warhols’ Beat the World Records. Lynn has also hosted and been featured on MTV’s Logo network as part of the NewNowNext segment, and his video for the song “Feed Me to the Wolves” was honored by the channel among its Top 10 of 2008.

Lynn’s new album resonates in a lyrical web of sticky sentimentalism and salty resolve, accompanied by spookily catchy electronic sheen; the tandem creates an uneasy but addictive listen, and considering the events occurring during the two years Lynn spent making the record, those assessments aren’t just journalistic cake frosting.

“Halfway into the process, my life fell apart...” explained Lynn. “I sort of broke it apart, but at any rate, it wasn’t good.”

Lynn ditched the city for a couple of months to clean up a chemical dependency and get his head straight. During this time, he planned what would be the beginning of his new path.

“When I got back to Portland, I threw out everything we had recorded and started over,” Lynn said. “I had taken the time away to sort things out, but the only way I knew how to do that was by writing songs, so that’s what I did. I came back feeling like a new man and proceeded to make an even newer record.”

From Pillar to Post is a musical conundrum in essence – both an electro touchstone for the club kids and a somber lyrical experience for connoisseurs of heady melodies.

“It’s a bit Mary Poppins,” said Lynn, “but I think when you are working with rough medicine, sometimes the spoonful of sugar is imperative to the process — both in me writing [the songs] and in [them] eventually being heard by others. I choose not to candy-coat the message, but instead try my best to keep the delivery on the sweet side.”

The general inability to apply an appropriate tag – assuming such exists – to Lynn’s music coincides with his acknowledgement of the doors opened for him as a gay artist.

“Were it not for my having been so embraced by Logo and the gay press overall, the straight world wouldn’t have caught on,” Lynn said.

“My songs are about love and loss and feeling alone, which resonates particularly well with folks in the gay community. I think this is because we have a shared human experience though, not just a shared gay experience. Pain is an across-the-board thing. I am a gay artist and am happy being one.”

Logan Lynn performs with Deastro and Wampire at 8 p.m. Tues., June 23 at Holocene, 1001 SE Morrison, $8. Visit blogout.justout.com for a full transcript of Lynn’s interview. - Just Out

"Logan Lynn Reviewed by URB MAGAZINE"

Logan Lynn : Burning Your Glory
Beat the World
Reviewed by Amorn Bholsangngam

The term “emo” has gradually evolved into a derogatory term over the years. Ever since men’s eyeliner sales reached their peak sometime in the middle of our decade, “emo” has been a label that not only musicians but people in general have tried to steer clear of. Yet Portland synth-popster Logan Lynn has embraced the term, unabashedly employing it to describe the musical and lyrical heart that he has proudly displayed on his sleeve. Paired with DJ Carlos Cortes of Assemble the Empire, the singer/songwriter sets his heartfelt confessionals to the sound of blaring synths, driving drum rhythms, and pulsing basslines. Sonically adventurous yet possessing the pop sensibilities that lesser artists would forsake in the name of artsiness, Lynn is set to become the new golden boy of sensitive electro-pop. “Burning Your Glory” is a more pensive moment for Lynn, as he fuses playful electronics with forlorn balladry.
- Amorn Bholsangngam

"Logan Lynn on Indie Update"


Fans of electronic compositions and mood music will enjoy Logan Lynn, whose efforts are variously described as electro-pop and emotronic. He has been working on a CD that is scheduled for general release in the fall of 2009. Currently, two tracks are available for listening: “Feed Me To The Wolves” and “Burning Your Glory.”

Both have mid-range pace, sort of an energy-under-control feel, in both cases. The second selection, “Burning Your Glory” would be ideal for cruising a long, empty boulevard in some night city atmosphere. The CD, From Pillar to Post, is on The Dandy Warhols label Beat The World.

Lynn is based in Portland, Oregon and according to the Web marketing information, has worked closely with Carlos Cortes for the past several years. The video for “Burning Your Glory” was a top pick on MTV’s LOGO Network, success matched only the “Feed Me To The Wolves” top 10 slot on the same outlet. The Cortes/Lynn combination has now produced Pillar To Post with plans to send it out to the public in a few months.

Some reviews have Lynn being one of the favorites among the teen-angst crowd, while others put his music in the almost-acid container. But efforts to categorize music are ultimately a waste of time and effort. Just listen and see if you like it.

Logan Lynn on MySpace: http://www.Myspace.com/LoganLynnMusic

Tags: independent music, indie, indie music, logan lynn, music

- http://www.indieupdate.com/index.php?s=logan+lynn

"Logan Lynn on MTV's LOGO Network"

"Moody dance-pop...Logan Lynn's electro-fueled music merges God, country, love and gloomy, artfully electronic tinged mope-pop sound...Lynn’s music puts the “disco” back into discomfort."

Taken from MTV's Logo Network's Music Blog "NewNowNext"


"Ain't that America?"

Logan Lynn's electro-fueled music merges God, country, queer love and gloomy artsy-ness! Put that in your firecrackers, folks!

What’s more American than being raised by super-religious Midwestern parents, home-schooled, pumped full of Amy Grant tunes, then coming out at 14, becoming a musician and moving to the crunchy West Coast to make your own kind of music (and lots of arty videos and collage-y visuals)? Yep, out musician Logan Lynn’s life sounds like a queer-tinged John Cougar Mellencamp song, and he’ll be the first to tell you (see below) how his tightly wound Christian upbringing influences his artfully electronic tinged mope-pop sound. As it’s been put, Lynn’s music puts the “disco” back into discomfort.

These days, the Portland-based redheaded songsmith is seeing his video, “Burning Your Glory,” cruise nicely along on Logo’s weekly Click List Top Ten, and he’s playing gigs all around the Northwest, as his forthcoming album, From Pillar to Post, is slated for a fall 2007 release. Give his new single “Feed Me to the Wolves” a listen if ya wanna.

You can watch and hear his videos and tunes on LoganLynnMusic.com (or via MySpace), but since he was in NYC last week for a show and some Pride fun, I chatted him up. After the jump, you can hear about his musical ethos, frisky fans, his Tori Amos devotion and how redheads do get more action.

John: So... You live in Portland?

Logan: Yes, but I’m originally from the Midwest; kind of everywhere you wouldn’t necessarily want to be from, I’m from. My dad did a “Strong Family” seminar funnily enough, and we traveled around doing that.

John: He led it?

Logan: Yeah, it was sort of like a touring Promise Keeper experience, so we lived in like Nebraska, Texas, Kansas, Michigan and Tennessee, did the whole rounds. I moved to Portland in ’96 and never really went back to the Midwest after that. I prefer to stay coastal.

John: I hear Portland’s pretty great. I hear there’s great food… And a cool queer community.

Logan: It’s a real sleepy town, but in a good way. There’s a lot going on. The music scene is kind of tight-knit. It’s a good jumping off place, I think. There’s no shortage of venues to play, and the kind of music I make, it lends itself to a little bit of depression along the edges. And with Portland, with the sun depravation, you get a little of that. [Laughs.]

John: So the climate lends itself well to depression?

Logan: People are into the cry-baby stuff! [Laughs.] And I do like how cheap the city is. Part of me is really into the, er… cheap.

John: I can understand that. Your song, “Burning Your Glory” has been on Logo’s Click List and getting play. It’s nice—very melodic and still and introspective, but with an electronic vibe, too. Is that song written about someone specific?

Logan: ...Yeah, that was written about my previous relationship. It’s actually on older song that Carlos Cortes, my recent bandmate, took and remixed it, and re-recorded it. (Watch Logan Lynn's "Burning Your Glory." Like, now...)

John: Has the person you wrote it about ever responded?

Logan: I tend to send CD’s out when they happen. It’s sort of the whole process for me, to release my anger or hurt or whatever, to make it into a product so I’m not feeling it anymore. And then after I sing it a few times, it becomes more like a story about someone else, almost. It’s kind of therapeutic in that way. And I think part of the process is that it gets heard by the person who it’s about. That’s the final part.

John: Your videos seem like collages of art and music. How do those come together?

Logan: I did five videos this past year from my previous record, all with five local Portland filmmakers. And I just let them all run with it, and it actually turned out pretty well. That’s also something I like about Portland; there’s a lot of like-minded people, and people involved in the visual arts too. There’s a lot of starving artists who are just jobless and bored. [Laughs.] They’re like, “I’ll make a video; I have nothing else going on.”

John: And how does your upbringing in a strict religious household influence your music?

Logan: Probably 100% of everything I do comes from that. I was home-schooled, so when I was finally able to listen to pop music—anything besides Amy Grant, which is essentially what I grew up on—I sort of felt like I was at home then. I’ve since been able to patch things up with my family. And I figured out that forgiveness is kind of selfish; you do it for yourself. And they’ve been able to get something out of the music too, I think, whereas before I don’t they were ever able to hear me. It’s sort of a weird scene, with that church. It’s a stifling experience, and I came out when I was 14, which wasn’t the most popular thing to do in 1990-whatever in Kansas. Since then it’s been great. I think moving west has been good for that, too. But it’s nice to be able to revisit those issues musically…

John: Your album is coming out this fall. It’s called From Pillar to Post. What’s the origin of that title?

Logan: My grandmother used to say that all the time. It’s basically somebody who runs amok in every aspect of their life, from one catastrophe to another. That’s sort of been my situation from time to time. Like, burn one bridge and go on to another. Not so much now, but a lot of my feelings before have been a lot about running amok. This new record is more about my present, and getting the new band has been good.

John: When you perform, if there’s two of you, what’s it like?
Logan: It’s sort of like a DJ experience, with me up there doing my singing bit. The sound is all 100% computer; anything that’s instrumental is sampled in to the computer.

John: Well, that’s easy. You travel light!
Logan: Yeah, it’s nice. Not tons of gear. You want a show? We’re ready to plug in on a whim.

John: You’ve played lots of queer events, including Folsom Street in San Francisco … What’s the raciest performance scenario you’ve been in? How far do you go onstage?

Logan: Well, I tend to not go very far, but Folsom Street Fair was the most racy. I wasn’t prepared; there were some wild things…

John: Like what?

Logan: Like guys jerking off in front of the stage. Like, during my songs, which is a little distracting. I looked at my band after that, and was like, “Dude, if we can make it through this, we can play anywhere…”

John: Maybe it was a form of flattery?

Logan: Well, yeah… I figure if they’re enjoying the show that much, I’m doing it right.

John: And you’ll know, if they’re enjoying it.

Logan: [Laughs.] Yes. I go for full release at the end of my performances.

John: What music are you listening to now?

Logan: I listen to a lot of chick rock. I’m really into The Innocence Mission and Feist, and embarrassingly a little Tori Amos.

John: There’s no shame in some gay Tori-love.

Logan: Yep, I’m into it. I think that’s where my touchy-feely stuff comes in. I like dance music, but I tend to make and not listen to it as much I would listen to a lady with a piano.

John: How do you create music? Is it a solitary thing, is it with Carlos? Is it in the shower?

Logan: I have a digital vocal recorder that I carry around in my pocket, and I’m just constantly singing into it. I used to carry notebooks but that got hard on my hands… So now I just press play and record and go with it. And then I use my simple old Casio SK-1 bit. I’ve had the same keyboard since I was ten, and I still like it. So I start with that and lay down a simple track and Carlos and I build around that.

John: Now when you were coming out, as a teenager, was there a song that sort of served as your coming out soundtrack?

Logan: I don’t think there really was that. I’m sure I would read into things in music, but I think I’d probably credit Tori Amos as the lady who let me free myself of the religious bondage, and sort of turn that into a musical thing. And for me that was the big deal; it wasn’t that I felt dirty about being gay, it was that I didn’t want to go to fucking hell.

John: Who does?

Logan: [Laughs.] Hell’s a bummer, from what I’ve been told. But once I could figure out that I was already in hell, and I needed to get myself out of it, that was more of a coming out for me. It had more to do with God, than sex.

John: Who would you say is the most inspiring gay artist to you?

Logan: I like Rufus Wainwright a lot. I think he’s really honest. I listen to a lot of people who have gay stuff around the edges, but I don’t know. I listen to a lot of chicks, so the Indigo Girls, maybe? [Laughs.] Michael Stipe… It’s all about the songs more to me, than who they are in the sack, or whatever.

John: Now, importantly, do redheads get more play?

Logan: On the radio?

John: No. Sexually.

Logan: I think people tend to think of redheads as being hypersexual, which in my case is probably true. But I don’t know that I get more play. But I think people either really like us, or really hate us.

John: I think some people are extra turned-on by redheads…

Logan: Yeah, I guess that’s a good thing. [Laughs.]

John: Finally, what’s your musical mission? What do you want to do?

Logan: I want to be heard. It would be nice to find like-minded people, and just be able to keep doing what I’m doing, and have an audience. That’s the goal, to have an audience that can relate. That makes the impending sense of doom, or the loneliness of being me a little less lonely. I’d like to find other people who are totally bummed out—and who want to dance, at the same time. [Laughs.]

John: Are you that bummed out?

Logan: I go through phases. That’s part of the whole thing, right? Being alive isn’t always totally awesome. But that’s where the music comes in. If I didn’t have music, I’d be just suicidal and crazy. But I’m just crazy and musical…

Logan Lynn: He likes art, Tori Amos, cloudy Portland--and puppies!
- John Polly

"Logan Lynn on Indie Rock Cafe"

"Logan Lynn Releases New Singles Ahead of Upcoming Album"

Having surfaced to the indie music scene for all the right reasons in recent years, and now signed with the Dandy Warhols’ label Beat The World, Logan Lynn has released a set of new singles from his anticipated third album release, From Pillar to Post, due out later this year.

Lynn teamed up with producer Carlos Cortes of the Portland DJ collective Assemble The Empire to record From Pillar to Post. The result: An amazing collection of upbeat, sprawling electro-pop tracks that are not over-produced but engineered to be original and free-flowing.

There’s a lot of musical experience and talented wrapped neatly in this well packaged upcoming release. The guys sent these fresh tracks to share with all of you. Enjoy.

“Feed Me To The Wolves” - Logan Lynn off From Pillar to Post
“Burning Your Glory” - Logan Lynn off From Pillar to Post - Indie Rock Cafe

"Logan Lynn in Willamette Week"

"A dayglo electro performer, Lynn’s ecstatic intelligence and untempered
glee resembles a sweaty Postal Service capable of inelegant emotions or
The Pet Shop Boys were they sorta hot and born to the civil unions
generation...Another soldier joins the ranks, and I, for one, welcome our
new glam overlords. 'Keep Portland Intriguing And Pretty And Well-Drugged'
would be a far better bumper sticker."

-Willamette Week

Ding! Logan Lynn Joins the Dandy’s New Label

It’s easy to figure why most music critics—even, especially ‘community’ obsessed northwest writers (our own very much included)—trash the Dandy Warhols. They specialize in infectious, lyrically-available, immediately-explicable pop rendering the critic’s job rather beside the point. They freely admit the quality of drugs and sex partners available to rock stars to be perks of the job. Most damning, they’re a singles band. Had they the good sense to put out a dozen 45s in 1967 and record a series of majestically-condescending interviews to fawning magazines before well-timed overdoses, we’d all be lighting candles (or, likely, other things) upon Taylor-Taylor Street each year.

As is, despite the mountain of press CTT* spends detailing the glories of his hometown to the international press, they are locally considered from Portland but not of Portland. Too careerist (which makes no sense). Too haughty (ever talk up Janet Weiss?). Too attractive (perhaps, but their unending advertisement for NW glam have buffered the ranks). Too…happy? Confident in their powers? Unabashed in their desire to change the town, or, at least, their little quarter, towards a well-articulated vision of…I know, I know, but there’s no other phrase…urban Bohemia? Put simply, they’ve never sought to Keep Portland Weird or indulge a Malkmusian sense of artist-in-residence at riverside village. The mission statement’s been there from the beginning, but, now, the Dandy’s have built their compound, imported allies, and started a label.

Following themselves and next week’s concert openers the Upside Down, Logan Lynn becomes the third artist to be signed to Beat The World Records. A dayglo electro performer, Lynn’s ecstatic intelligence and untempered glee through two EPs and LOGO-rotated videos resembles a sweaty Postal Service capable of inelegant emotions or The Pet Shop Boys were they sorta hot and born to the civil unions generation—”Ring Around,” for an artist whose press protests (wrongly) he “brings the ‘mo back to emo,” tackles proposals absent politics. CTT’s set to produce his debut full-length From Pillar To Post (and, we hope, counsel against Lynn’s cap choices) early next year and, one expects, set dancefloors thumping worldwide.

Another soldier joins the ranks, and I, for one, welcome our new glam overlords. “Keep Portland Intriguing And Pretty And Well-Drugged” would be a far better bumper sticker, but, then, do you know anyone who drives?

* There’s a number of explanations given to the Taylor-Taylor name change. He’s said before that, well, his parents are still together. A fondness for Terry-Thomas, perhaps. British mags supposed that, accompanying a celebrity down the red carpet years past, he was asked his name and stumbled a repetition which was then printed. I believe he insists upon it purely to fuck with the press. Which, much as I appreciate the thought, I don’t wanna fully enable.
- Wweek.com

"Logan Lynn on Azltron"

"Logan Lynn Provides some Electronic Emo that's just Dandy!"

Logan Lynn is an artist out of that aural metropolis we call Portland, Oregon that has recently been signed to the Dandy Warhol's "Beat the World" label. His new album "From Pillar to Post" is an emotional journey through sprawling soundscapes of sparkling pop melodies and jagged glitchy beats. As the press release on his page says; "He Puts the "Disco" back in "Discomfort".

Even though Mr. Lynn's music is just now coming to my attention, he has been at it a while. He has released 2 albums since 2000. The first was entitled "Glee" and was a combination of optimistic beats and electronics with heart wrenching lyrics and themes. His self-titled sophomore effort was released in 2006. Following a collaboration with Carlos Cortes of the Portland DJ collective 'Assemble' on the track "Feed Me to the Wolves", the two decided to work on a full album together. This album is the aforementioned "From Pillar to Post".

The lead single "Burning Your Glory" plods along with ethereal guitar melodies accented by synth tones that drop like pins in a silent room. Each crystalline tone has the potential to send a chill down your spine. Other tracks like the excellent "Feed Me to the Wolves" pick up the pace, but don't expect all out dancefloor funkiness, but rather mood pieces that whirl by like streetlights on a long drive home.

There hasn't been a release with this level of "bloody heart on sleeve" emotion tied to an electronica project since The Postal Service's "Give Up" in 2003. Others have matched The Postal Services musicality over the years, but Logan Lynn's lyrics and delivery drip with digitized drama and pathos.

Logan Lynn - Burning Your Glory

Logan Lynn - Feed Me to the Wolves

Logan Lynn Myspace
Posted by azltron at 6:54 AM
Labels: death cab for cutie, Dntel, Electronic, emo, Lali puna, logan lynn, odditorium, pillar to post, Postal Service, the dandy warhols, The Notwist

Aaron Z. Lee - Azltron Electronic Music Blog (Mar 31, 2009) - Azltron Indie Music Blog

"Logan Lynn on The Audio Muffin"


I grew up with no MTV or Soul Train allowed in the house. The next door neighbor girls, with their copies of Tiger Beat magazine, were a major influence on my appreciation for Pop Culture. I used to kiss the NKOTB centerfolds in their bedrooms and its b/c of them that I fell in love with Jason Bateman and Kirk Cameron at age 10. It was also with these girls that I had the opportunity to show off my mad rollerskatin skills in the magical land of Skateland USA. On Saturday Evenings we would sit for hours afterward and talk about the boys we couple-skated with and who touched our hands during the boys’ skate where we would line up along the wall with our arms outstretched, waiting to get picked.

What does this have to do with anything? I wax nostalgic! Its half the reason I fall in love with music in the first place…. but this time, Logan Lynn has taken me to a fantastic version of a roller skating rink on acid, where laser light beams are bouncing off the walls and pulsing through a trippy landscape of fog and neon. And I love him for it.

Portland Oregon is puttin out copious amounts of awesomeness, but nothing hit my ears like the electronic trippiness of the sneak peeks for the upcoming album From Pillar to Post (set to release in the fall of 09). Admirable lyricism is a must on my list and Logan Lynn doesn’t fail to deliver. His electronic pop music is brimming with what Dan and I deemed “Synthcerity”.

Hope you love!

Logan Lynn - Feed Me to the Wolves

Logan Lynn - Burning Your Glory

PS. Don’t miss the hilarity of kitschy radness that is this video for “Come Home” from the 2006 self titled album.

Bootsy, AudioMuffin.com - Audio Muffin (Los Angeles Music Blog) (Mar 24, 2009) - Audio Muffin Los Angeles Indie Music Blog

"Logan Lynn on Audio Drums"

"Logan Lynn delivers on the promise of his hit, “Feed Me To The Wolves” by
creating a rich, atmospheric and electronic collection of sounds and
voice...A cross breed of Depeche Mode starkness with Duran Duran
production sensibilites....Melancholy heartache never sounded so pretty,
simply breathtaking."

-Audio Drums


Just received a copy of Logan Lynn’s new full length offering called, “From Pillar to Post” (due out later this year). Logan Lynn delivers on the promise of his hit, “Feed Me To The Wolves” by creating a rich, atmospheric and electronic collection of sounds and voice. Several stand out tracks on the album include:

If He Hollers - A cross breed of Depeche Mode starkness with Duran Duran production sensibilites. Easly one of the best tracks on the album!

Bottom Your Way To The Top - Industrial sounds and dark brooding make up the body of this track. In my mind, the video that is conjured upon listening to this track is: A slow free fall down an elevator shaft with glimpses of your troubled past on each floor.

Burning Your Glory - Melancholy heartache never sounded so pretty, simply breathtaking.

David Gonzales - Audio Drums (Mar 25, 2009)


Ok, this track just floored me the first time i heard it (actually, i saw it / heard it since it was a music video on LOGO). Anyway, Logan Lynn is from PORTLAND, Oregon and has a great emotronic sound to his music. This particular track is taken from his last ep titled, “Feed Me To The Wolves EP”

Audio Drums - Audio Drums (Jul 29, 2008)
- Audio Drums music blog

"Logan Lynn Musicfest Northwest Review"

“Lynn, along with producer Carlos Cortes, crafts hooky electro-pop tinged
with equal parts melancholy and party-starter. Built of beats and
straightforward emotion, Lynn's music charms its way into your skull with
definite ease....Heartstrings and dance beats go hand in hand when it
comes to the tunes of Portland resident Logan Lynn...Lynn's tunes provide
the bait and hook for the lovesick among us. He's got earnest,
understanding lyrics that ponder love and all of its shortcomings, strewn
over catchy music that guides you to the dance floor so you can forget all
about it".

-Musicfest Northwest
- Musicfest Northwest


- Albums -

Tramp Stamps and Birthmarks (2012)
Blood In The Water (2011)
I Killed Tomorrow Yesterday (2010)
From Pillar To Post (2009)
Logan Lynn (2006)
GLEE (2000)

- E.P.s -
Dance Alone Remix E.P. (2013)
Turn Me Out Remix E.P. (2012)
Everything You Touch Turns To Gold Acoustic E.P. (2011)
Feed Me To The Wolves E.P. (2008)
Clean & Stupid E.P. (2007)

- Singles -
Do You Want Me Or Not? (2012)
Turn Me Out (2012)
Movies (2011)
The Last High – Dandy Warhols Cover (2010)



If the Land of Misfit Toys elected a team of cultural ambassadors, Logan Lynn would be its poet laureate. In Portland’s pulsating music scene, he occupies a singular position- a pop prophet with a penchant for electronic beats, preaching the Good Word to drug-damaged crybabies.

After getting a lo-fi mixtape from 1998 called “This Is Folk Techno” into the right hands, he released his debut album in 2000. Logan Lynn’s “GLEE” is a blissful, sex-drenched romp through some emotionally treacherous territory. Produced by Pfog, heavy themes of religion, sexuality and identity played out alongside upbeat grooves and smiley-face rhythms. Logan Lynn’s debut blended spleen-venting lyrics with “Let’s Dance!” optimism and it’s been said that Lynn “puts the DISCO back into DISCOMFORT.”

His self-titled sophomore effort was released in 2006, using his earlier work as a springboard for exploring fresh sonic territory. The album release coincided with a performance for a crowd of over 400,000 alongside The Presets, Bob Mould and My Life With The Thrill Kill Kult at San Francisco’s Folsom Street Fair. The release of “Logan Lynn” brought with it five music videos which can, for all intents and purposes, be credited for putting Lynn’s music on the map.

A remix collaboration with Producer Carlos Cortes of Portland DJ collective Assemble The Empire yielded an E.P. entitled “Feed Me To The Wolves”, which was released in the fall of 2007, as well as a demo E.P. called “Clean & Stupid” which was not professionally released until 2012. In 2008, Logan hosted the music television show “NewNowNext” on MTV’s Logo Network and his video for “Feed Me To The Wolves” was picked by the network as one of the “TOP 10 OF 2008?!

Lynn was signed to The Dandy Warhols’ record label, “BEAT THE WORLD” RECORDS from July 2007 to July 2010 and released his much anticipated 3rd full length record, “From Pillar To Post” on Labor Day weekend 2009.

In July of 2010, after completing a Summer tour of the U.S. with Portland electronic rock band The Gentry, Logan Lynn announced that he would be taking an extended break from the music industry to go work full time for LGBTQ equal rights at Portland’s Q Center. Instead of releasing the follow-up to 2009's “From Pillar To Post” traditionally, Lynn completed “I Killed Tomorrow Yesterday” with Producer Bryan Cecil in 2010 and gave the proceeds to Portland’s Q Center, the only LGBT community center in the Pacific Northwest.

In June of 2011 Logan Lynn’s “Quickly As We Pass” video premiered on Logo and MTV to rave reviews in the press. “Blood In The Water” was released the same month and features Logan Lynn remixes by Styrofoam, Boy In Static, Flufftronix and 15 other amazing bands, producers and DJ’s. Logan contributed an original, previously unreleased song for “Live From Nowhere Near You (Volume 2)” alongside Pink Martini, The Strokes, Pearl Jam, Spoon, Elliott Smith, Queens of the Stone Age, The Dandy Warhols (and a bunch of other bands) in July of 2011. He also released an acoustic EP in December of 2011 called “Everything You Touch Turns To Gold”, featuring 5 new songs.

After taking a two and a half year hiatus from the music industry, Logan Lynn released a new 10 song album in December 2012 called “Tramp Stamps and Birthmarks”. Produced by Gino Mari and recorded and mixed at The Country Club studios in Portland, the record features collaborations with Los Angeles electropop band Father Tiger, David Appaloosa from Portland indie boyband The Hugs, Spencer Lee Carroll from DJ duo LackLustre, The Gentry, Rowan Wren, Noah Daniel Wood, and more. In January of 2013 the fashion house of Oscar de la Renta began using Logan Lynn’s “Turn Me Out” for their Spring/Summer men’s campaign.


“Delightfully warm synth-pop…Feed Me to the Wolves toes the line between Cut Copy‘s epic chimes and Ladytron‘s dancefloor squiggling.”

+ Reviewed by Amorn Bholsangngam

“The singer/songwriter sets his heartfelt confessionals to the sound of blaring synths, driving drum rhythms, and pulsing basslines. Sonically adventurous yet possessing the pop sensibilities that lesser artists would forsake in the name of artsiness, Lynn is set to become the new golden boy of sensitive electro-pop.”

“Fans of electronic compositions and mood music will enjoy Logan Lynn, whose efforts are variously described as electro-pop and emotronic.”

Indie Rock Cafe Music Blog
“Having surfaced to the indie music scene for all the right reasons in recent years, Logan Lynn has released an amazing collection of upbeat, sprawling electro-pop tracks that are not over-produced but engineered to be original and free-flowing. There’s a lot of musical experience and talent wrapped neatly in this well packaged upcoming release.”