About Harbour:
Since their formation in 2014, HARBOUR has gone from packing rooms in their native Cincinnati to selling out venues across the United States. After the successful release of their 2023 album ⏤ To Chase My Dreams, Or To Just Lie Down? ⏤ the band is looking to follow it up with their fifth studio album in 2025. After A couple trips around the country supporting bands such as Bilmuri and Wilderado, they are poised for their first full US headlining tour. With more music & shows in the works, the band has no plans of lying down anytime soon.
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
About Jessica Pratt:
From the opening seconds of “Life Is,” it’s clear that Here in the Pitch is a very different kind of album from Jessica Pratt. The revered Los Angeles artist has become one of the most singular and distinctive songwriters of her generation, largely through the bewitching sound of her acoustic guitar and vocals: a mystical, elusive blend that conjures deep emotional responses from her devoted (and patient) audience. To introduce her first release in half-a-decade, however, we are greeted by neither her breathtaking vocals nor the delicate, sophisticated strum of her guitar. Instead, Pratt’s fourth album begins with a percussion roll that nods instantly to the grand, orchestral style of ’60s pop hits like the Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore.”
“In a way, it’s kind of a false flag,” Pratt admits of this introduction, considering the rest of the record is just as emotionally intimate and stark as fans have come to expect. “But I also feel like it’s a statement of intention.”
Indeed, five years after her breakthrough album, 2019’s Quiet Signs—which marked her first time working in a studio after years of home-recording—Pratt has re-emerged with new ambition and new parameters for what her music can be. Working once again at Gary’s Electric Studio in Brooklyn, NY, with her trusted collaborators—multi-instrumentalist/engineer Al Carlson and keyboardist Matt McDermott—Pratt enlisted the rhythm duo of bassist Spencer Zahn and percussionist Mauro Refosco (David Byrne, Atoms for Peace) to help realize her vision. “Having done a studio record prior, I learned how to get to the things you want and how to communicate it to people,” she says. “The process this time was less about exploration of a new tool and more about taking what I learned and going further.”
