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Listen to Time Wharp "clstrphlia"
Patrick Loggins is sitting on the painted-white porch of his parent's house in Marietta. To the side of the Atlanta-born, whip-thin 20-year-old sits a silver laptop that almost entirely comprises Loggins' recording setup for Time Wharp. Loggins splits his time between Atlanta and Boston, where he is studying music production at Berklee College of Music. His most recent album, later., highlights a fascination with jazz rhythms as much as his ability to navigate the outer limits of electronic music. He is visibly tired at noon, still worn out from recording a track late the previous night. He picks up a freshly packed bowl and lighter, and politely asks, "Do you mind?" before he takes the first hit.
I don't really record anywhere. I embrace the aesthetic of not going into a studio and having a perfect recording every time. If I'm recording in like a bathroom or something, it's because I like the sound of the bathroom. I have all these different sounds, different fidelities and different ambiences. I can just do it wherever.
Most people always start with a beat, but it doesn't really happen that way with me. The way the tracks end up forming themselves, it's like the demo is the final version is the live version all at once. The sounds can come from wherever. Sometimes I'll have a mic and record it into there and sometimes it'll be a sample from something, like, a song or a movie or whatever.
It's different every time. It always happens in the moment and as soon as it's done, I can't really remember how I did it. It's like a zone and if I'm not in the zone, then there's not even any point in working. Whenever I'm in the zone, I try to think about the zone after I was in the zone and I can't remember how I got in the zone.
When I started making this music, about a year and a half ago, I couldn't think of any peers in the area. I made more contacts in the Atlanta electronic music scene after I left, through the Internet — the whole Peace Age [blog] crew, like C Powers, CH-Rom, Featureless Ghost.
Sometimes I work until four or five in the morning. At that point, you're totally open to your improvisational mistakes. It won't be until I'm so tired that I'm practically hallucinating that I'll mess something up and that will be the spark that finishes the song.
I'm just trying to find other ways to hit buttons and make them do different things than what I'm just doing every day. That's all I really do, is hit buttons.
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