Patchnotes Leaves It All In The Music

Photo courtesy of Patchnotes.

The next time someone asks you what the soundtrack to your life is, your answer should be Patchnotes. Portland, Oregon-based producer Kyle Shwendinger, better known as Patchnotes, began creating music with his computer to fight off pandemic depression. The result is a catalog of atmospheric landscapes worthy of the silver screen. Shwendinger’s 2022 release, Golden Hour, landed him on the radar of multiple tastemakers and influential Reddit boards. The album’s breakout single, “Baby,” is a mix of slinky beats and strategically placed loops of suggestive lyrics. This year’s follow-up, Endless Surrender, takes on a decidedly different tone. The result of a breakup, the album is heavy with emotional declaration but never crosses the line into desperate sap. With song titles like “Grow,” “Relapse,” and “I Love You,” each track acts as a piece of a splintered existence being painstakingly rebuilt. Unlike some electronic music, Shwindinger’s songs are not overstuffed with endless tricks and overdubs. Instead, they fit like a velvet theater seat, allowing enough breathing room to envelope listeners without swallowing them whole. Last month, we caught up with Kyle Shwindinger via Zoom from his Portland apartment. With Endless Surrender’s title track reaching over 70,000 streams, the producer was on a much-deserved high. We spoke about the creative process, his place in the electronic landscape, and the future of his music. Endless Surrender can be found on all streaming platforms. The music videos for “Grow” and “I Love You” are out now. 

Photo courtesy of Patchnotes.

AM: Talk a little about how you started producing music and what that process is like for you.

Kyle Schwendinger: I have been producing music for two years. The way I make music is very different from the way bands do it. I start with an arrangement on the keyboard and build off of that. 

AM: When you sit down to make a song, is it all at once, or is there a lot of tinkering involved?

KS: I usually start with the catchy part of the song—first pad and something rhythmic like shakers or a drum loop. Then I will go back and build the rest. The first part, then a build, then I will finish with the song's ending. 

AM: Do you have a theme or idea that you start with for your albums? Or is it more of a state of endless creation?

KS: I like emotional, cinematic music. I go for that feeling. A lot of it is tinkering with things and messing with samples. It is a mix of starting with an idea but also experimenting. 

AM: Endless Surrender is your second full-length album. How has the process of making music changed from your first EP to this album? 

KS: I have not been producing for very long, but I am incorporating what I learn along the way. My knowledge of song structure has grown and is still evolving. I am also starting to sample my voice and do some of my own vocals on my next project.

AM: Since you have not been producing for very long, how did you start?

KS: I was struggling with my mental health during the pandemic and was in a negative space. I wanted an out. I was really into George Clanton at the time. I had always wanted to produce, and something on his albums really connected with me. I decided to get Ableton. I immediately noticed it was helping my mental health, so I kept doing it. 

AM: Have you ever considered picking up a guitar and taking a more “traditional” approach to making music?

KS: I have battled with the idea of taking a more traditional route, but my path is mine. Some things work, some things do not. I am building and expanding on past experiences and seeing where that takes me. 

Photo courtesy of Patchnotes.

AM: The song titles on this album feel like emotional declarations, with the songs themselves exploring those declarations.

KS: Endless Surrender is a breakup album. It is based on the last year of my life. Every track is an experience I had with my partner at the time. 

AM: How do you deal with the opinion that what you do is not making music?

KS: People will find a way to be comfortable with the music they are making. I do not sway either way. Electronic music is different from a rock band. Everyone I know makes music differently. A lot of people use equipment that would be considered “pressing buttons.” But it is more complicated than that.

AM: Most people picture someone like Steve Aoki or Calvin Harris when they think about a successful producer. Someone who stands on stage behind a mixing board. How do you see yourself within that space?

KS: I want to play live, but I do not want to be Steve Aoki. I have been thinking about DJing with a live band. I definitely would like to work with more people. I have not thought about specifics; I just want to make more music. 

AM: Do you want to get to a point where you are mixing live on stage?

KS: Ideally, I would like a band to join me on stage, but going on tour with that much equipment is expensive and unrealistic. I want to make it plausible while keeping it exciting. 

AM: How do you think the absence of collaboration has affected your music?

KS: The product is very genuinely me, and I like that. I may bring in other people, but I am selfish with what I make.

AM: Did you think this is what you would be doing before you started making music?

KS: Not at all. I had tried a couple of times to learn how to make music, but it just did not stick. When I was actually able to learn, it was the perfect time. But, even then, I did not think it would evolve into a career. The fact that so many people listen to my music is very surprising to me.

This article has been edited and condensed.