Album review: EMA - The Future’s Void
- Credit: Archant
Erika M. Anderson, or EMA as she’s better known, burst onto the scene in 2011 with the release of Past Life, Martyred Saints.
One of the year’s best records in this reviewer’s opinion, it hinted at a subversive post-punk songwriter not dissimilar to Kim Gordon or Courtney Love; one who could certainly challenge the latter for a good crossover tune if she really put her mind to it.
On The Future’s Void, EMA seems to have acknowledged that potential, writing her most accessible LP yet while maintaining that trademark ghostly sense of alienation.
So Blonde is a deceptive opener. An angst-ridden guitar cruncher not dissimilar from Hole, it sees Anderson penning a Lena Dunham-esque take on the struggles of a mid-20s girl in the city.
Yet it’s follow-up 3Jane that really sets the tone – a stunning other-worldy ballad that fears the dawn of social media, crying ‘I’ve seen my face and I don’t recognize the person that I feel inside’.
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The theme is explored throughout, and while the occasional reference to ‘selfies’ can grate, songs like When She Comes reveal the album’s brilliant layers of distorted voice and electronica are only accentuating a truly gifted ear for melody. This is a troubled modern lament, but an outstandingly thoughtful, warped pop record because of it.
Rating: Four stars
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