Patricia Returns to Ghostly With Long-Awaited Fourth Album "Maxyboy" [REVIEW]
Updated: Feb 27
The newest full-length album from Patricia continues his progression through DIY electronic music and solidifies his effortful work over the last decade.
Just three years after making it onto Spectral Sound, Ghostly's sister label for moody club music, Patricia makes his debut on the acclaimed label's main roster for what has turned out to be his best, most matured work yet.
Just having celebrated their 20th anniversary last year, Ghostly International has proven to be one of the most important labels of modern electronic music. Their longevity can be attributed to not only the quality of their artists, but the diversity of their releases. This can be seen with Patricia's newest album Maxyboy, which puts the listener on a dance floor full of fun drums and nostalgic warmth. Known for his obsession with discovering new hardware and turning their output into intricate sound collages, Max Ravitz (Patricia) has brought all that he knows onto this record, except with new intentions. Being a musician of many projects, Patricia has been the alias that stands out the most for the Chicago born, Brooklyn-based producer. As heard in much of his older work on renowned English label Opal Tapes, Ravitz has embraced more of an abstract, low fidelity sound. This is also prevalent in his last album Several Shades Of The Same Color, which takes what some would call "lo-fi house" and breaks the label down into something entirely unique. From warm yet somewhat daunting soundscapes, to intoxicating drum work that keep listeners moving, Ravitz carries over these traits onto his newest creation. This time, we are met with a more full sound and a much more apparent influence. Everything from techno, electro, IDM, and electronica can be felt in the 10 well woven songs.
Take the first single "Downlink" for example; the remnants of old-school electro passing through Ravitz's signature processing of fragile synths and perpetual drums make for an emotional treat. Listen for yourself in the video below, with retro visuals fitting the theme well.
Having premiered near the end of April, the anticipation to hear the rest of this record made two months feel like an entire year. Though "Downlink" is a perfect introduction as it captures most of its essence, there are a few surprises to be heard that still stay true to the album's core. "Myokymia" brings alert drums programmed over his classic at a much faster tempo than the rest of the tracks, "Dripping" is likely the club representative of the album with its clear acid roots, and "Ctenophora" closes the record with a lovely drum-less soundscape. Through the 51-minute journey, It can easily be heard that Ravitz continues to obsess over creating meticulous music through physical hardware.
Ravitz took a risk in stylistic choice with Maxyboy when gravitating away from his signature DIY, lo-fi production. Instead, he introduces a fuller sound that feels modern in comparison, yet thematically antique. His newest album solidifies his marvelous work over the last decade and introduces a new direction in his production for years to come.