Pasithea’s Garden — Jonathan Fitas
For two singles the music has held almost perfectly still. With Pasithea’s Garden, at last, it begins to move — a gentle, strange waltz whose three beats fall just where you expect them, a perpetual swaying that turns through the garden of sleep like a dancer already half-dreaming.
The harmony is where the strangeness lives. Jonathan Fitas writes in a mode here, letting the melody slip between the veiled colours of Debussy’s impressionism and something far older — the scales of ancient Greece, with their particular light and shadow. The violin leads and the piano answers in three-time; the whole thing sways rather than marches, sweet one moment and faintly uncanny the next, the way a garden feels at dusk.
The title reaches back into myth. Pasithea was the Greek goddess of rest and relaxation, given in marriage to Hypnos, god of sleep — so this is quite literally the garden one wanders once the mind lets go. It makes a fitting close: the third and final single before A Quiet Place arrives on 9 October 2026, Jonathan Fitas’s first entirely acoustic record and his return to the violin, its harmonies threaded throughout with Debussy’s Préludes and the folk pulse of Bartók’s Romanian Folk Dances.
Sophia Vesna painted the cover in watercolour: red poppies on their stems, corollas opening wide and full like the skirts of dancers caught mid-turn. Poppies — the old flower of sleep and dream — dressed for a ball no one is quite awake to see.
And then the garden gate closes. What waits beyond it is the record itself, due 9 October.
More: A Quiet Place — the EP · Jonathan Fitas — artist profile