Logic takes everyone by surprise after having announced that he’d be retiring for good in 2020 and releases this record under a new Doctor Destruction moniker, perhaps in response to MF DOOM’s passing, as it exhibits strong influence. With this new alias comes a self-produced approach that is very reminiscent of Madlib as well and an awkward pitch alteration that does him no favors.
Ever since the start of the record you get the impression that this is supposed to be something that captures an aesthetic, more than anything. Logic is replicating Madvillain all throughout the work and not while introducing the slightest of wit or originality into it. It’s almost as if he thought about the most obnoxious aspect of MF DOOM’s music and made a project about it, that being the skits in this case, as “Planetory Destruction” is probably even more excessively abundant in those than MF DOOM’s own “Mm… Food”. However, not even those can be criticized too strongly, in my point of view, as they probably serve more purposes within the release than the rapping itself, Logic is introducing spoken word passages that feature radio hosts, monologues, commentary upon the effort and interviews that do wonders at setting up this Doctor Destruction persona, as it becomes apparent as we delve deeper into the concept that such is supposed to be this supervillain character that is delivering this body of work through a time machine and that he is rapping in the midst of this mission that seems to consist of trying to destroy the world because he has gotten his heart broken.
These are essentially the upsides of the record, even if they could be also quite irritating after a while. On the technical side, the only advantage that “Planetory Destruction” proposes is the instrumentation, as Logic seems to be gradually improving as a producer and serves a chunk of self-produced instrumentals that may even be more impressive than the ones from his most acclaimed works “Under Pressure” and “No Pressure”. They are rich, they are jazzy, as you’d expect from Logic, they transmit this kind of cartoonish feel in a Metal Fingers or Madlib fashion, they are soulful, they are heavily sampled, they are laid-back and they are textured and layered, even if they may appear amidst mixing that emits this kind of mixtape feel, as it can be quite rough at points and conceal the enchanting vocal samples that subtly pop up in the background.
However, even if the production is easily some of his best yet and strikes due to being arranged by Logic himself, the rapping is, additionally, some of his most nondescript to date. There is something to be said about the performances here and not solely Doctor Destruction’s, as the features are incredibly puny as well. He’s seeking to emulate this cold-blooded MF DOOM delivery and his deep voice, which naturally Logic doesn’t possess neither, and if I were to describe the outcome in one word, it would be bland. On the other hand, that also comes with a benefit, as the criticisms that Logic has been hit all throughout his career about his songwriting being trite are now out of the window, as in this recent endeavour at imitating a supervillain extravangaza, the new-born Doctor Destruction takes a lot more of an abstract hip hop inspiration than Logic did with his own work, however, after all, that only proves that some of his preachiness was part of the appeal since without it a major load of his personality was also left behind.
As for the songs on the release itself, they carry along close to no entertainment. “Planetory Destruction” is an effort made up of skits, interludes, instrumentals and tracks that lead to nowhere. Plainly put, there are simply more spoken word moments on it than actual rapping, which makes for a really drowsy listen. The only highlights that are really worth laying some emphasis on are the ones with features, as even if most of them are just as ordinary as Doctor Destruction, at least they force him to give up that overflow of skits and stimulate him to make proper songs. What really goes to show the significance of this project is that Logic even went out of his way to get two of the best rapper of all time on the same cut, particularly Del the Funky Homosapien and Ghostface Killah, yet not even those high-caliber creators could provide noteworthy performances in the midst of this uninteresting mess of a record. There are still some enjoyable tunes that show up here and there, but the work just ends up turning into a hassle to get through when there are so many tracks that take so long to get to the point.
I guess you could just boil the lack of relevance of this project down to Doctor Destruction’s shortage in nearly any department: his flows are sluggish, he unveils no personality or humour at any point, the minimal content that he displays is rather forgettable, his bars are some of Logic's stalest and, overall, the moniker only cuts down everything that made Logic interesting to begin with. I suppose that, at the end of the day, not only was “Planetory Destruction” a non-starter but it was also executed in the worst way possible, however it still shapes up to be a reasonable record, only because Logic is, after all, mimicking the style of one of the best rappers of all time.
Favorite tracks: Double Sample, Back to the Basement, Outer Space Gang and Butt Ass Naked.
Least favorite tracks: N/A.