Against All Logic’s album 2012–2017 is a masterpiece of sampling, unleashing loops at a frenetic clip into each song. The American–Chilean producer, named Nicolas Jaar, crafted an album filled with unique samples and production, as 2012–2017 is a whirlwind of upbeat disco–electronic and moody techno–house. Each track is memorable for the way it pulls you in, sometimes because of its trancelike melody, other times because of its compelling use of samples and drums. By all accounts, 2012–2017 is a classic in the making, a timeless set of chopped vocals and staggered dance beats. Although released in 2018, the album is both worth a listen now and time and time again in the future.

The album opens with “This Old House Is All I Have,” a dreamy and melodic, yet ominous sampling of Mike James Kirkland’s 1973 songs “Doin’ It Right” and “Love Insurance.” “This Old House Is All I Have” is a swinging, dark introduction to the album, setting the stage for the poetic sound of the album. In transition to the second track “I Never Dream,” Jaar reinforces his knack for sampling old–school hits alongside electronic beats, creating a welcoming soundscape of throwback voices and timeless instrumentals. 

In “Know You”, the fifth song on the album, Against All Logic uses Jorge Santana’s 1979 track “Ain’t No” to back up funky chopped instrumentals with a flourishing melody. It’s an odd combination of disco, funk, electronic, and Motown that all synchronize in a beautiful melody. “Know You” is an invitation, beckoning the listener to engage with the song rather than simply listen to it, as the Santana sample makes the track sound like music that might have filled the dance floors of the 1980s. 

“Cityfade,” returns to Against All Logic’s ominous and chilling sound with a sample of "Le Serpent", by Guem and Zaka Percussion. Low, near–chanting voices are juxtaposed with chilling bass drums and a jazzy background beat. It’s soulful, but also somewhat forbidding. Against All Logic’s ability to juxtapose such sounds without losing the value of the sample is nothing short of breathtaking. 2012–2017 is able to combine aspects of a song that shouldn’t work together (70’s Motown samples and modern–day electric beats, for instance) and unite them seamlessly. 

Against All Logic is, in fact, only one of Jaar’s multiple musical projects. However, it is simply his best when it comes to sampling and melody. As described by writer Andrew Gaergic, “Samples have long been a foundation of Jaar’s sound. On 2012–2017, instead of molding them into obscure shapes, he’s scaffolding stages for them, happy to let long, coherent portions ring out.” Against All Logic utilizes strong vocal performances from decades past as an excellent boost to the wonderfully meandering sounds he produces. Jaar is able to complement his production and knack for utilizing samples perfectly, wrapping each song up in a tight bow of vocals, electronic beats, and chopped drums.