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p r o u d l y p r e s e n t s ..::
░ Artist | EMA
Title | The Future's Void
Genre | Indie
Source | CDDA
Format | Album
Label | City Slang
Catalog | SLANG50058
Released | 2014
Ripped | 2014
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Quality | 240 kbps avg at 44.1 kHz ▄▄███▀▀
Encoder | Lame 3.98.4 V0 ▄▄██▀▀ ░
Size | 78.71 MB ▄▄█████▀ ░░░
Playtime | 43min 31s ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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eh about this release ░░░░░░░ ▀██████ ░░ ░ ██▀ ░▓███
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░ R E L E A S E I N F O R M A T I O N
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, and Anderson began working on solo
material. Her single Grey Ship arrived about a year later and
boasted a 17-minute version of Robert Johnson's "Kind Hearted Woman"
that managed to reinvent the song drastically while remaining true
to its spirit. Her debut album, "Past Life Martyred Saints",
appeared on Souterrain Transmissions in mid-2011. It was widely
praised in the music press and, despite minimal marketing, it led to
headline tours across North America and Europe. The following year
Anderson began work on her second full-length with musician Leif
Shackelford in Portland, Oregon. Titled "The Future's Void", it
arrived via Matador Records in April 2014...
EMA's debut album, "Past Life Martyred Saints", was so furious, so
gentle, and so genuine that it probably couldn't be repeated.
Wisely, Erika M. Anderson doesn't try to on "The Future's Void".
Instead, she moves her focus outward, exploring the possibilities,
and dangers, of a constantly online world and its impact on a
person's sense of self. While it's not the expected next step from
an artist who seemed so soul-bearing, it's not completely unrelated:
Anderson is still committed to examining identity, and The Future's
Void allows her to embody multiple selves - or feel disconnected
from them. Like "Past Life Martyred Saints", "The Future's Void"
opens with a powerful manifesto. "Satellites", depicts a world where
'They put a man into space/And we go there each night alone in the
waste' over fraying electronics and sawing strings grounded by
industrial beats, setting the stage for an album that explores how
dehumanizing the virtual world can be. It's no coincidence that
Anderson sports an Oculus Rift headset on the album's cover; it acts
as a mask and a window, hiding her eyes while opening a different
world in front of them.
This concealing and revealing extends to "The Future's Void's"
highly crafted feel. Wordplay abounds, starting with the album's
title, which expresses the duality of seizing the moment in the face
of an uncertain future, or facing down an upcoming emptiness.
Similarly, EMA doesn't just rely on electronics to convey future
shock; she sets her unsettling imagery to sounds that span pretty
acoustic pop ('When She Comes') and stark piano balladry ('100
Years'). She even makes Linda Perry's bombastic L.A. rock sound cool
with "So Blonde", a brilliant homage/parody that is the album's
poppiest, and most ironic, moment. The line between satire and
genuine emotion is even finer on "Dead Celebrity", where Anderson
sings the seemingly heartfelt sentiment 'We wanted something
timeless in this world so full of speed' to a melody that sounds
like an alternate version of "Taps". EMA explores the personal
impact of this evolving culture as well as critiquing it, and the
album's best moments translate her debut's unbridled emotions to
cyberspace's discontents and disconnects.
"Smoulder", which sounds like a collaboration between mid-90s Nine
Inch Nails and PJ Harvey, takes EMA's catharsis to a new level.
"Neuromancer" - one of several nods to William Gibson's pioneering
cyberpunk novel - marries a dark, ritualistic beat to the refrain
'It knows more than you do about the things that you do', sounding
alternately like a warning and an incantation. "Solace" may be one
of the album's most effective and affecting blends of real and
virtual: as it comes to a close, a seemingly endless choir of EMA
clones sings "Beg/Pray" with ever-increasing intensity. "The
Future's Void's" often dazzling vignettes aren't quite as striking
as Anderson's debut, but they show she's an artist unconfined by any
one sound or perspective, and more than capable of engaging minds as
well as hearts.
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ooh ye.. ░ ▀██████████████▄░▀███████▀
▀▀████████████▄▄▄▄ ▀
::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Satellites 4:18
02. So Blonde 3:23
03. 3Jane 4:34
04. Cthulu 5:27
05. Smoulder 5:08
06. Neuromancer 4:15
07. When She Comes 3:39
08. 100 Years 5:11
09. Solace 4:18
10. Dead Celebrity 3:18
-----
43:31
------------------------------------------------------------------------------
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