An excellent album lurks inside the 47 minutes of Afrofuturism. It’s difficult to locate amid the miserable production spoiling Logan Richardson’s latest album. Afrofuturism’s aggressive attack is a logical progression from the genre-bending tone of Richardson’s 2018 album Blues People, but canned drum effects, garish keyboards and a grating mix spoil the admirable intent. The production exaggerates and emphasizes the most dated aspects of 1980s studio recordings. Richardson is Plastic Sax’s reigning Person of the Year partly because he’s a committed risk-taker. Afrofuturism is a losing proposition, but odds are Richardson’s next gamble will pay off.