Ema - The Future's Void flac album

The Future’s Void is presented as a different kind of record, one that’s about things and issues instead of people. One of those things is the state of our lives as lived online, with thoughts about Big Data, and, yes, the spiritual vacuum of media-saturated culture. There’s more to the record than that, but given the title, the Oculus Rift headset on the cover, and the content of the two lead singles, Satellites and 3Jane, the initial encounter with it happens within this framework. Still, despite the lyrical clunkers and ill-advised production choices, The Future’s Void has the feel of a real statement, of an artist trying for something new even if she doesn’t always get there. And the EMA project is antithetical to the idea of perfection anyway, so combing through the messy whole to find the places of clarity and insight feels somehow appropriate.

And on her second album ‘The Future’s Void’, EMA vents some mighty hang-ups about the hollowness of success. Its catchiest track, the abrasively lilting grunge-pop number ‘So Blonde’, even feels like something from Hole’s ‘Celebrity Skin’. 3Jane’ sets the agenda as, over a mounting electronic wash, she sings in softly spooked tones about an industry that encourages her to fracture her identity across the internet.

It’s called The Future’s Void, and it’ll be released April 8, via Matador. Per a press release, the album was supposedly inspired by Nine Inch Nails demos from the pre-Pretty Hate Machine period, early K Records material, and William Gibson’s cyberpunk novel Neuromancer. Anderson says, I gravitate toward hooks and melodies, and in some ways the structure of these songs are my poppiest yet, though says there’s a lot of jarring production to be heard on the album as well. Check out the album cover above, and tracklist and video for new song Satellites below.

Seven years ago, covering CMJ for the Village Voice, I tried to go see High Places at the Cake Shop in New York, and I got their early enough to see the final song of the band that was before them on the bill. That final song just about sucked my soul out through my mouth. A blonde woman was howling with a ferocious sort of devastation, her voice near tears and absolutely dominating the barely-there feedback-and-piano accompaniment: You’ve gotta keep on going, You’ll forget about m. .

ships out within 2 days. Purchasable with gift card. Maurizio Baggio - Drums, Mixing. Alessandro Cortini - Bass Programming. Alison Fielding - Layout.

EMA - The Future's Void. Tuesday 25th March 2014. The DIY punk ethics of EMA (the outward persona of Erika M. Anderson) came to our attention in 2011 with her solo debut 'Past Life Martyred Saints', and before that as half of Gowns. Leaving the Norse mythology and inward reflection of 'Past Life Martyred Saints' behind, this new body of work deals with subject matters hinted at by the album's cover art (above) and track listing, poking at the impact of technology and invasive, immersive networks on the human psyche. To reflect this EMA has turned to a more electronic soundscape whilst retaining her previous grunge-like palette, but what is key to this album's success is the way Anderson has avoided the contrived clichés and psuedo-subculture of cyberpunk.

The Future's Void Tracklist. 1. Satellites Lyrics.

Ema (4) ‎– The Future's Void. Label: Matador ‎– OLE-1054-2. Country: Australia & New Zealand.

The Future’s Void sounds like it’s the most deliberate music that EMA has ever made. It’s easy to imagine the West Coast artist’s 2011 studio debut, Past Life Martyred Saints, unfurling as a single jam: Each song bleeds into the next, while lyrical motifs recur effortlessly. One song, Marked, was actually laid to tape at the precise moment it was being written. The album feels as natural as if the whole thing were recorded live in EMA’s basement. Erika M. Anderson’s follow-up to that release, meanwhile, feels much more calculated