As co-owner and house-arranger of Spacebomb Records, Trey Pollard's work has been a cornerstone of productions by a growing list of rock and pop artists in the know, Natalie Prass, The Waterboys, Foxygen, Helado Negro, Matthew E. White and Bedouine , and expanded to projects outside that context, recently contributing to the score of S-Town, a groundbreaking longform podcast. He is entering a new phase, completing a record of contemporary chamber pieces under his own name featuring a set of preludes and fugues for string quintet and pieces for chamber string orchestra and piano. He wrote within a systematic framework, a series of parallel harmonic planes, constellations of notes unburdened by the tension of standard chordal and melodic structures. Pollard’s creative powers are at a certain fullness now, a ripeness matched to his age and his experience in various roles: producing in the recording studio, performing with ferocious skill on guitar, piano or pedal steel, conducting small ensembles or orchestras–often with the same group of musicians he has known for over a decade. The music of his mind is of such quality—agile and prescient, conceptual yet emotional, with an absorbing sense of beauty. Though he might not try to bring down the heavens, they swing low just the same. Pollard moves through the field of creation with surety, finding his own line on the thrill of sound.