First-time listeners beware.
The charming piano solo that is the first track of Emma Pollock’s The Law of Large Numbers sets the melody for the next full song, but not the tone for the entire album. Yes, this March release is overabundant with talented piano features, but that does not define Pollock’s music in general. The Scottish singer and songwriter steps it up with an edgy voice. Just when you think you have her figured out, the melody changes and a set of fiery lyrics are right there, too. This creates a sense of anticipation, and it is persuasive.
Consider the track “House on the Hill.” This song starts with nimble piano and quick vocals, causing listeners to sit on the edge of their seats, waiting for more, wanting more. Then the piano pauses, Pollock slows her voice, and you are floating. What’s next? Just when it seems as though the artist permanently suspends the lively melody, it picks up again. By the end of the song, Pollock eases the tension and the song feels complete.
“Red Orange Green” moves in precise steps. Again listeners are left in a state of anticipation for three minutes, yet Pollock’s vocals continue to compliment the music. Hear the onomatopoeia when the clock “tick tocks” and Pollock’s mind “flip flops,” among other word and sound relations within the song. This is the next single from her album, to be released in May. The video is out now.
Much of The Law of Large Numbers is noteworthy. The quality of Pollock’s vocals and the tension created and solved within each three minute section of the album are truly intriguing.