Splendid Magazine

On her debut, Jessica Peters, aka Petracovich, has crafted a moody piece of pop perfection. At the heart of the music, Peters reveals a folk aesthetic through her simple piano lines and emotional, non-linear vocal melodies. That heart is then encased in a fascinating body of electronics and effects that push and pull at the boundaries of the musical foundation, hinting at the underlying malleability that has allowed folk music to endure. This approach has been used by others, including Beth Orton, but Peters pushes the concept further, and often reaches greater heights because of it. She not only shows that a new approach can push a song song in a radically different direction -- she proves that an idea can be its own counterpoint if framed correctly.

For example, compare opener "Nighttime" with "Coyote and the Moon", both of which build from a lullaby beginning. The first song marries this melody with swooping tones and a dubbed-out drum line for a haunting combination reminiscent of Baby Fox. "Coyote and the Moon" begins with the same type of melody, but gently kisses it with strings. Thus, Peters illustrates, the same idea can be used to induce nightmares or sweet dreams, depending on how it is phrased. This is smart work.

While the bulk of Blue Cotton Skin is moves slowly, and is worthy of comparisons to trip-hop's subdued tempos, there are a few exceptions. "Water House" uses timpani to bulk up its prepared piano loop, making for a hulking sound that softens the tunes that surround it. Similarly, "Bird's in Flight" uses a jazzy organ, guitar, and handclaps to create a chorus that soars above most contemporary pop music. By balancing the upbeat chorus with less-busy verses, Peters illuminates the roles that the various instruments play in creating a delightful whole.

This kind of intelligent effort is what makes Blue Cotton Skin pay off so richly. By exercising her brains as well (and as often) as her musical chops, Peters has created a treasure trove of hidden delights.

-- Ron Davies