January 05, 2012 Special Sections » 20 People to Watch

FACE TIME: “I just don’t wanna be all out there like these dubstep producers who are about 100 percent promotion.”

Joeff Davis

FACE TIME: “I just don’t wanna be all out there like these dubstep producers who are about 100 percent promotion.”

Time Wharp: The Electronic Musician 

For the Atlanta electro-prodigy, laid-back is a state of mind

by

5 artists to keep an eye on

Even more Atlanta musicians we're digging in 2012

When Patrick Loggins talks about the handful of songs and remixes that he's posted to the Internet over the last year, he draws out his vowels with a natural stoner's drawl. But a slacker he is not. Although barely of legal drinking age, Loggins has amassed a small but advanced body of experimental electronic recordings that have gained notoriety beyond the modest number of "Likes" his Bandcamp page boasts (around 200 each, at press time).

His cerebral grooves, glitches, and beats are akin to the distorted grind of such early millennial electro innovators as Aphex Twin, Prefuse 73, and Flying Lotus. Rather than imitate their legacies, he recognizes the value of uncluttered space. Amid the din of so many like-minded artists, he's created a pronounced and highly evolved voice amid the din of so much noise on the Internet.

Throughout his debut full-length, Later., emptiness carries as much weight as the whirlwind of digital chatter, textures, and droning ambiance. It's a psychological aesthetic that defines Loggins' music as much as it does his personality. Never too anxious to pose for cameras or talk himself up in interviews, Loggins prefers to leave perception to the ear of the beholder, making the music, and the man, far more compelling. "I just don't wanna be all out there like these dubstep producers who are about 100 percent promotion," he says over the phone from Boston. "Let the music speak for itself."

On Dec. 7, NPR.com featured his song "Mandelbrotset" during its Song of the Day segment, and although it hasn't caused any noticeable spike in downloads, he'll take the attention for its "résumé-building" potential.

Last year he spent his time divided between recording his own happy accidents, and studying electronic production and design at Boston's Berklee College of Music, but that's about to change. As of January, Loggins is done with school. After only three semesters, he's dropping out to return home and focus on music.

The plan is to release a follow-up to his GRN EP, titled BLK, at the top of the year, and it's shaping up to be something of a sentimental enigma. This time around he's delving into a darker, more spacious sound that builds upon the strains of house music that have been rubbing off on him lately. It's not club music, but it bears the influence of 808 beats colliding with sampled, clipped, and recontextualized R&B vocals. Loops and words are pieced together in repetitive, vulgar, sexually charged mantras, turning the micro genres of ghetto-house and juke on their side.

In the meantime, he's planning a pilgrimage to Los Angeles to work on a new full-length with his West Coast electro conspirators Sonnymoon. After that a SXSW show is in the works before heading out on an East Coast tour. With a year of endeavors stacking up, laid-back may only be a state of mind.

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