An introspective look at the internal and external struggles of life of the 20s, the music on “Finally The View Has Changed” was inspired by experimental singer/songwriters the world over, as well as by environment and modern culture. The piano-driven album touches on issues from both sides of the equation, such as everyday angst like jealousy (“Too Far”) and loneliness (“I Have No Right”), as well as growing jaded (“Be That Man”) and shedding long-held demons (“What I Didn’t Know”). Musically, the album focuses on piano based melodies, with tracks like “Wonderful Magic” and “To Paul” solely piano/vocal pieces. Midway through, the focus shifts to away from piano and explores the outskirts of pop and electronic music, with the Chromaharp strums and industrial-light beats of “I Have No Right”, and the electronic, almost Bjork-like subtlety of “Burden,” a song addressing the fears that comes before many gay men and women come out of the proverbial closet. The abrasive new-wave bounce of “Be That Man” opens the album with a bang, while by the time you get to the soft, melancholy of “The View” you don’t know which way to turn. Patrick’s jagged vocals howl at one point and are at a near whisper at others, but the harmonies and multi-lyrical layered vocals should pleasantly bring the listener down from the intense cloud by songs end. The live drums on the Americana “Sorry For What I’ve Done” and the Electroni-Folk “Boys Like Me” also add to the surprise element and result in loosening out the airtight electric pulses resonating throughout the rest of the lp. REVIEWS: From The 06/21/06 issue of the Chicago Free Press! “Finally The View Has Changed” (Abusing Music), the second album by Texan Patrick Boothe, is a blast of fresh air in the gay male music scene. Boothe’s experimental electronic recordings are as aggressive as they are accessible, beginning with the mind-blowing opening track “Be That Man” and continuing on “Ugly,” “The Upfall,” “Burden” and “Boys Like Me.” Boothe also exhibits a knack for crafting pleasing but unpredictable pop numbers such as “Too Far” and “What I Didn’t Know,” as well as for making chilling political statements, as in “Kill Him and Tell God He Died.” -Gregg Shapiro Contributing Writer From The Dallas Voice: April 22nd, 2006 Bridging the gap between piano-driven songwriters like Rufus Wainwright and the darker music of Trent Reznor, queer Dallas singer and pianist Patrick Boothe finds a niche in the valley of passion and intellect. A songwriter focused on the big picture, Boothe writes politically charged lyrics from a personal perspective. From touching love songs to anger-fueled screeds, Boothe’s songs burn from within, revealing the sometimes troubled and engaging person behind them. — Gilbert Garcia Artist Info: Patrick Boothe is a Dallas/Fort-Worth, Texas native and is still based in the area, where he is currently playing around various clubs and looking for new musical ventures along the way. In 2003, Patrick formed his Abusing Music imprint and released his debut album, the more industrial and angry "Dub Escape". Visit www.patrickboothe.net for more information, lyrics, pictures, and sound clips, etc.... Check out my MYSPACE page as well! www.myspace.com/patrickboothe