Glass Period by Caitlin Pasko

On 'Glass Period', we find a small chapel to personal grief. There's a chapel’s sense of calm, of refuge from the world, but also its starkness, its lack of cover from fear, its welcoming of the large and the small. There are small terrors that we must occasionally sit with for a while, which can be their own source of strength. There is air and there is time. This feeling, and the open space the album creates, stems partly from the liquid phrasing of Pasko’s voice and piano playing, but it's also largely the result of the elegant production treatments by producer/composer Henry Terepka (Zula, LEPT).

Caitlin Pasko’s songs are rooms where silence and language are granted equal weight. Her singing is precise, but soft and reserved, and her piano-playing drifts and floats like the work of Satie or Debussy, thriving on the tension between dynamics, tempo, and space.

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