Here in the Pitch

Here in the Pitch

Where the ’60s-ish folk singer Jessica Pratt’s first few albums had the insular feel of music transmitted from deep within someone’s psyche, Here in the Pitch is open and ready—cautiously, gently—to be heard. The sounds aren’t any bigger, nor are they jockeying any harder for your attention. (There is no jockeying here, this is a jockey-free space.) But they do take up a little more room, or at least seem more comfortable in their quiet grandeur—whether it’s the lonesome western-movie percussion of “Life Is” or the way the featherlight sha-la-las of “Better Hate” drift like a dazzled girl out for a walk among the bright city lights. This isn’t private-press psychedelia anymore, it’s Pet Sounds by The Beach Boys and the rainy-day ballads of Burt Bacharach—music whose restraint and sophistication concealed a sense of yearning rock ’n’ roll couldn’t quite express (“World on a String”). And should you worry that her head is in the clouds, she levels nine blows in a tidy, professional 27 minutes. They don’t make them like they used to—except that she does.

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