Josaleigh Pollett : If I Let It Quiet
Each of Josaleigh Pollett’s records is its own pocket universe. The Salt Lake City singer/songwriter swings their sonic pendulum to tender acoustic folk and gorgeously expansive indietronica. Yet on If I Let It Quiet, their fourth record arriving nearly a decade after their debut, those seemingly disparate palettes come together confidently and consistently. Not only has it been a slow burn for Pollett to receive their flowers, but likewise for Pollett’s musical stylings to converge so harmoniously.
If I Let It Quiet is Pollett’s third release to be produced by their creative partner and best friend Jordan Watko, aka Crowd Shy, whose knack for ethereal, bittersweet electronics is as impactful as ever. From one listen, their strengthened close-knit bond is also heard, its invigoration a result of overcoming the challenges of Watko’s relocation to Japan. So, If I Let It Quiet is rooted in place, recorded between Salt Lake City and long distance in Japan. They also spread their wings with greater collaboration by bringing producer Andrew Goldring into their fold.
Everything culminates in a work that, according to Pollett’s explanation, quiets the noise of geographical and emotional distance, hearing ourselves better by focusing on who genuinely sees us. For instance, the spirited “The Witness” swells with a beaming synth complementing Pollett’s words on the desire to be seen and understood beyond any limits. The less metaphysical explanation, as Pollett outlines: “It’s also a little bit about deleting my Twitter account.” If I Let It Quiet is never afraid to jump between these modes of magical philosophy and grounded reality, with its electroacoustic sensibility heightening the fantastical thrill.
Above all else, the sound design is impeccable. Many of the album’s tracks are like Beth Orton’s voice laid over a Baths track or that of other early 2010s beatmakers. “Like a River” calmly chugs with a digitally processed groove carrying a hint of bossa nova. Its myriad illuminating samples that flow in and out of the ears are a warm embrace. “Repeating” prolongs this affection, while “Second Guesser” ups the poignancy with reversed piano and distant cello samples that later emerge to conclude the track gracefully.
Elsewhere, “Escape Routes” introduces breakbeats, “Radio Player” is a synth-pop arpeggio trip, and “We All Got It Right” stuns with crushing, roaring guitar feedback, all while Pollett’s gentle vocal—at times accompanied by nothing but acoustic chords—holds these tiny pocket universes, or folk songs, together. At the end of the day, these are folk songs—without the deeply textured embellishments, they would be similarly evocative. It’s Pollett’s deft synthesis of organic tissue and ones and zeroes that make this latest chapter so memorable, and they have gone the distance with Watko to make it feel like so.
Label: Audio Antihero
Year: 2026
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