A Yukon-Built Yacht-Pop Record Glows With Indie Pop, Alternative, And Retro-Soul Charm
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Paris Pick has always sounded like she’s smiling through a feeling she’s still figuring out. On Third Time’s a Charm (Deluxe), that instinct becomes the album’s pulse. The 16-track expansion gives her yacht-pop world a final shape, restoring four unreleased songs that complete a relationship story that was always meant to be heard in full. The result feels like opening a jewellery box and finding there was a hidden compartment all along.
Tracked in Whitehorse, Yukon with a tight live band, the record carries the warmth of a room where everyone knows the same chorus. Jordy Walker’s production gives it a polished ’70s sheen without sanding off the edges. The bass sits low and velvety, the drums move with an easy sway, and the guitars flicker with just enough crunch to keep the sweetness from turning syrupy. Paris Pick’s voice floats above it all with a smoky, clear-eyed glow, landing somewhere between indie pop, alternative, and retro-soul.
That blend suits her well because Pick writes about love with a kind of plainspoken nerve. She’s interested in the small shifts: the first rush, the comfort of being known, the slow arrival of doubt, the moment when a relationship starts to creak under its own weight. Rather than dressing those feelings up, she lets them breathe. A line can feel like a confession, then a wink, then a bruise. That elasticity gives the album its life.
The deluxe edition restores the missing final chapter, and those new songs do exactly what they should: they change the whole shape of the story. Man That’s Good To Me
leans into classic doo-wop sweetness, with stacked harmonies and a sway that feels almost cinematic. It’s the kind of song that blushes a little at its own romanticism, then keeps going anyway. Pretty Little Song
pulls the camera closer, built from delicate guitar and a bass-synth throb that never crowds the melody. It’s intimate without being fragile, the sound of someone saying the quiet part out loud.
Elsewhere, Pick balances glossy hooks with emotional friction. Got Me Good
and A Love That’s Magic
sparkle with the giddy rush of new devotion, while Same Page
and No Expectations
introduce the harder truths. By the time Go That Way
arrives, the record has shifted from infatuation to self-recognition. That’s the trick Pick pulls so well: she makes the personal feel familiar without flattening it into cliché.
There’s also a playful streak running through the project, especially in the visual world around Get My Baby Back
, which treats heartbreak like a caper with lipstick on its collar. But even at its most cheeky, Third Time’s a Charm (Deluxe) stays rooted in sincerity. Pick understands that sentiment can be a strength, that saying the obvious can still land like a revelation. As she puts it, “Being cheesy is being vulnerable.”
That openness is what gives the album its staying power. It’s glossy, yes, but never hollow. Bright, but not careless. Third Time’s a Charm (Deluxe) feels like a record that finally gets to exhale, and in doing so, lets Paris Pick’s world come fully into view.
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