The Future's Void
Erika Anderson's second full-length as EMA finds her working in a loosely conceptual zone, with songs about surveillance and the difficulties of navigating plugged-in digital culture. It's a risky and uneven album with its share of brilliant moments.
On her second album as EMA, Erika M. Anderson makes an impassioned case against oversharing. That may seem like an odd reversal for a singer-songwriter who trafficked in confessionals, real or perceived, on 2011’s Past Life Martyred Saints, an album that volunteered the story behind every scar on its wrists, but…
On her second album , Erika M Anderson has created a blueprint for how we interact online in the wake of NSA and surveillance revelations. Yet rather than making grand statements, it's the personal approach that makes her ideas seem workable.
Erika M Anderson’s Past Life Martyred Saints was an explosive, unsettling debut, a day-glo riot of sputtering confessional and expressionist worldview. It had colour and identity, its creator’s ambition seemingly boundless.
William Gibson-a founding father of the now-classic science-fiction subgenre called cyberpunk-has said that SF strain has become a "standard Pantone shade in pop culture." (The question of cyberpunk's fate had been posed to him in a fantastic Motherboard
<p>Erika M Anderson's second album mines a rich seam of digital despair to stirring effect, says <strong>Kitty Empire</strong></p>
For all its heady ideas and pretty moments, The Future’s Void is a mishmash of half-completed thoughts that fails to fully connect.
Review of Review of The Future's Void by EMA, the new album comes out April 8th on Matador records. The first single from The Future's Void is "So Blonde"
Uncompromising songwriter takes on Big Data on an uncomfortably brilliant album. CD review by Lisa-Marie Ferla