“One More Fluorescent Rush” is the A-side of her forthcoming release for London’s Whities, her second for the label, and it treads a fine line between narrow focus and a refusal to stand still. The centerpiece of the track is a sharp-edged synthesizer arpeggio that nervously, almost obsessively carves the same groove over and over—but the sound itself is in constant mutation, its slippery outlines perpetually shapeshifting. First it resembles a kalimba, then a steel drum; a lone element multiplies until it sounds like a small woodwind ensemble.
The fullness of Emerson’s sounds allows her to accomplish a lot with very little: For long stretches of the tune, there are hardly any drums at all, just an anchoring kick drum and a steady ripple of fine-tipped hi-hats. Even at the track’s heaviest, the drums take a backseat to the synth, which spins like a pinwheel in a wind tunnel, a steady explosion of color and movement. The effect is a kind of streamlined maximalism, as effortless as it is dazzling.
View on pitchfork.com