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The Future's Void

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Erika M. Anderson first graced the limelight under the guise of EMA in May 2011, when the brilliantly scuffed debut album Past Life Martyred Saints was released to a multitude of acclaim. After having spent time in the California underground fronting the genre-defying cult duo Gowns with Ezra Buchla, Past Life Martyred Saints offered a deeper glimpse into the world of EMA. An absorbing and ... Read more in Amazon's EMA Store

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Product details

  • Audio CD (7 April 2014)
  • Number of Discs: 1
  • Label: City Slang
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 36,940 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. So Blonde 3:23£0.99  Buy MP3 
Listen  2. 3Jane 4:34£0.99  Buy MP3 
Listen  3. Cthulu 5:27£0.99  Buy MP3 
Listen  4. Smoulder 5:08£0.99  Buy MP3 
Listen  5. Neuromancer 4:15£0.99  Buy MP3 
Listen  6. When She Comes 3:39£0.99  Buy MP3 
Listen  7. 100 Years 5:11£0.99  Buy MP3 
Listen  8. Solace 4:18£0.99  Buy MP3 
Listen  9. Dead Celebrity 3:18£0.99  Buy MP3 
Listen10. Satellites (HD) 4:18£0.99  Buy MP3 

Product Description

City Slang is excited to announce the release date and album details for the forthcoming LP from EMA, 'The Future's Void',the album will be released throughout Europe by City Slang on April 7th. The follow-up to her acclaimed 2011 LP, 'Past Life Martyred Saints' 'The Future's Void' was written by Erika M. Anderson, recorded in Portland, Oregon, and produced by Erika and Leif Shackelford.

EMA recently told NME that the album was influenced by, among other things, NiN demos, the heavier side of early K Records, and William Gibson's Neuromancer, and that the album looks at the digital commodification of our online lives. She says, 'I gravitate toward hooks and melodies, and in some ways the structure of these songs are my poppiest yet, while noting that the jarring production includes a lot of first takes and spontaneously-recorded ambient sounds 'to keep the songs from sounding like advertisements'

Last month the first single 'Satellites' was released to raves, garnering 'Best New Track' from Pitchfork, who said, 'Its discontent composed to Carl Sagan proportion, and it s easily the most bracing thing yet from an artist already more bracing than most' Spin said,'it's a rumbling mammoth that feeds off canned, clapping percussion and waves of static feedback' while Stereogum noted, 'anxiety this ferocious is a timeless thing'

Customer Reviews

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Ms. T. Daniels on 26 Sept. 2014
Format: Audio CD
Some albums defy space, time and whatever intergalactic studio they were recorded in. Some albums push and embody musical boundaries, taking sound to its very limit without making the process seem try-hard or even deliberate. Some albums leave in their wake utter devastation, combined with an intoxicating realisation of beauty. 2014 doesn’t deserve such an album. EMA has given it to us anyway, in the form of her sophomore album The Future’s Void.

Last time we saw the Portland based musician formally known as Erika M Anderson, she was grinning coyly in the direction of a sell out audience at the Great Escape in 2011. The set was in support of her debut album Past Life Martyred Saints. Of the same year, it offers a loved albeit underground homage to the soundboard. Wrapping fairy lights around her (momentarily) brunette head and idly kicking shards of glitter ball away from her exit, it seemed to be an iconic moment in her career. Not so. The velocity at which this artist currently speeds makes such a triumph seem as insignificant as cornflakes. EMA has got the world in her pocket and on The Future’s Void, she’s shaking it up.

In a way, this album is groundbreaking because it addresses previous flaws. Anderson was half way to sonic heaven on her debut, hawking over spacious synth and handclaps in a way only previously associated with devil worshipping. In 2014 she fills in the blanks, literally, with stellar composition and a bunch of killer hooks. For example, few tracks on The Future’s Void are comparable to the unholy chaos of “Breakfast” or the slacker drawl of “Butterfly Knife”. Fans of EMA’s experimental side needn’t fear for the sanctity of their saviour. The Future’s Void is far from commercial; it just makes a lot more sense.
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2 of 2 people found the following review helpful By The Wolf TOP 100 REVIEWERVINE VOICE on 15 April 2014
Format: Audio CD
It's been three years since we last heard from US electro-chanteuse
Erika M. Anderson on her 20111 album 'Past Life Martyred Saints'
and it's good to know that she hasn't drifted too far from her default
position of creating sombre sit-up-and-listen sepulchral anthems. There is
more than enough room in the World for one more talented night creature.
I, for one, am glad about this. Darkness definitely becomes her.

This collection of ten new songs finds Ms Anderson in fine voice.
It is a dramatic full-bodied instrument with the capacity to both
warm and chill the blood in our veins in equal measure.

From the grinding opening urban hymn 'So Blonde', through the more
gentle and surprisingly touching '3 Jane' and '100 Years'; to far
sterner stuff in the shape of numbers like 'Cthulu' and 'Neuromancer',
she never loses her grip on this singularly affecting sonic vision.

'The Future's Void' doesn't deliver too many smiley moments but as
an effort in sustained melancholy the album takes a lot of beating.

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Format: Audio CD Verified Purchase
So far, my favourite album of 2014 - electronic and traditional 'rock' sounds blended to form something that sounds unique. For once the bands and groups you can pick out as influences are just that - influences to give inspiration rather than to be slavishly copied. It sounds different to anyone else out there and it's great. Buy it.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 10 reviews
7 of 7 people found the following review helpful
Post-millennium tension 9 April 2014
By D. J. Ammon - Published on Amazon.com
Format: Audio CD Verified Purchase
I am a last century man. I am afraid of all this technology and where it's taking us. I did not have a cellphone until 2010. I did not have a computer until 2000. For me, things are moving so fast. I am George Jetson without a jet pack. That said, I LOVE THIS ALBUM. It is my favorite release of 2014, thus far.

Erika M. Anderson (EMA) taps into my post-millennium tension. The music is unsettling and jarring juxtaposed with beautiful, soothing synths and vocals. "I feel I blew my soul out across he interwebs," she sings on 3Jane, and she is afraid she will never get back to herself. There is life and then internet life and who you are at any given time is slippery at best. We now have the ability to move from one persona to the next at a whim. Easy to lose oneself.

Satellites, the album opener, begins with an annoying static that soon blends in with a synth chord and hand claps to become a beat. Ugliness into beauty, and this happens throughout the album. The listener is drawn into the noise and then soothed. Or the opposite occurs. A relaxed, soft song is smacked to life with squeals of machine noise, or better, Erika's vocal chord shredding scream as in So Blonde, a beautiful little pop song Courtney Love would have killed to have written.

The album cover and title, The Future's Void, is very telling. We can not see EMA's face and she is looking into a view finder, and we can't see what she's looking at either. Nor can she see us, so where does leave human interaction in this strange new world? What can we really know about one another?

I HIGHLY RECOMMEND this album. I like it better than Past Life Martyred Saints, which was also brilliant, so that's saying a lot.
3 of 3 people found the following review helpful
Amazing Album! 11 April 2014
By Samuel Patterson - Published on Amazon.com
Format: Audio CD
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.
2 of 2 people found the following review helpful
a diverse and powerful album 25 April 2014
By Charlie Quaker - Published on Amazon.com
Format: Audio CD
The 2nd album from Erika M. Anderson has a fairly subtle, but fearless, agenda to explore; to
open up new audio pathways to the neural fulfillment centers. She injects rock ‘n’ roll with a
futurist respect for tradition and then mutilates it with a fusion of dark poetry and visceral/cerebral
energy. The dominant synthesizer presence lends an eerie celestialism that is streaked with
dark guitar chords. Anderson’s voice can range from a soft & scary fragility to the gripping,
celebration of uninhibited pain, perfectly capturing the emotional strength of each song. Former
member of Gowns, Amps For Christ. Some similarities to Patti Smith, P.J. Harvey, Kim Gordon,
Cat Power, St. Vincent. “The Future’s Void” is a diverse and powerful album that feels destined
to grow with repeated listens.
1 of 1 people found the following review helpful
Better than her debut! 19 May 2014
By Joe - Published on Amazon.com
Format: Audio CD Verified Purchase
I was hesitant with her debut, having only heard Milkman, took a leap of faith and ended up loving it.
Not this time around. Her sound is sharper, catchier and deeper.
Great Music, Terrible Manufacturing 12 Mar. 2015
By S. Bands - Published on Amazon.com
Format: Vinyl Verified Purchase
Let me start of by saying, I LOVE this album. It was on of the best of 2014 and by a wide margin my favorite. The downgrade to 3 stars is because of the terrible pressing of the vinyl. The grooves are cut so shallow I had to weigh the needle down, and sometimes even that wasn't enough to keep from jumping. That said, I can't say enough about EMA and how amazing "The Future's Void" is. Highly recommended for listening, just maybe on another medium.
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