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The Future's Void

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iTunes Review

It’s fitting that Erika M. Anderson is wearing an Oculus Rift headset on the cover of The Future’s Void, since she's both obscuring her face and visualizing other worlds. The follow-up to 2011’s critically acclaimed album Past Life Martyred Saints takes the personal admissions of Anderson’s previous work and sidesteps them to engage on thoughts on William Gibson’s Neuromancer on a song of the same name. Recorded in Portland, Ore., and produced by Anderson and Leif Shackelford, The Future’s Void has the feel of being both recorded spontaneously and carefully arranged for maximum impact. “When She Comes” would likely be a simple, spartan acoustic track if not for the addition of perverse vocal choirs and intriguing voice effects. Anderson told the British paper New Musical Express the album was influenced by Nine Inch Nails demos, the heavier side of early K Records, and Gibson’s book; that's a helpful starting point for people aiming to grasp where she’s coming from and where she intends to go.

Customer Reviews

Worth the Wait!

I have been waiting weeks for this album to come out. EMA is an innovator and her music never disappoints. Her earlier album was more reminiscent of Hole, Sonic Youth, and other more grungy bands. On the Future’s Void, that grungy feeling is still present in some songs but there is more electronica and synth which accompanies her music beautifully. She is a little unorthodox but give it a try. I promise you’ll love it!

Amazing album!

There’s that thing people say, “It gets better the more that you listen to it.” I though that was just a metaphor for new music becoming more familiar and you pick up some of the lyrics. There is definitely music that each time I listen I hear new things, details hidden that suddenly jump out. Meanings that I missed, or lyrics that resonate more as life changes. Things you love to scream along with in the car and maybe you fall in love with each song a little more.

This is not that. This really does seem to get better every time. Huge leaps and bounds better, which is something because even the first listen was awesome. I mean, wow! From beginning to end, this album is amazing, and it keeps getting more so.

So get out your best headphones/earbuds/loudspeakers. This will go from loud crashing of synth in “Satellites” (oh god the synth!) to the soft, timely fatalism of “100 Years”. It makes them work but you will like it. Or love it. It’s that good. Music that creeps into your soul.

I had never heard of EMA until Wired had a small piece about a new video, “Satellites”, done all DIY with an Oculus and Kinect and a gritty present juxtaposed with 80s past. I clicked. It was instantly one of my favorite songs. Ever. A pre-order just seemed the right move and now that the album has dropped I can’t stop listening to it over and over and over. The music, the lyrics, the double meanings and it just keeps getting… better.

So listen.

Where are all the negative reviews coming from?

This would be my favorite album of the year so far if St. Vincent hadn't already claimed that title. I honestly don't understand why it's getting so many 2's and 3's. Whatever, don't listen to them, listen to me. You need to hear this album.


Born: Sioux Falls, South Dakota

Genre: Alternative

Years Active: '10s

EMA is the solo performing moniker of guitarist/vocalist Erika M. Anderson, who shaped her experimental voice and guitar techniques in two well-regarded underground bands before setting off on her own. Anderson, who moved to Los Angeles from South Dakota when she was 18, played guitar with folk-noise outfit Amps for Christ in the late '90s and early 2000s, then formed the psych-folk band Gowns in 2004 with former Mae Shi member Ezra Buchla. After making three albums, Gowns disbanded in early 2010,...
Full Bio
The Future's Void, EMA
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