Review: EMA - The Future's Void
[Matador; 2014]
Rating: 7/10
By Cortney Willis, Staff Writer
Key Tracks: “Cthulu,” “Smoulder,” “When She Comes”
South Dakota-born Erika M. Anderson, better known by her stage name EMA, is a force with which to be reckoned. Science fiction themes run rampant throughout The Future’s Void, her follow-up to 2011’s slightly more thematically subdued Past Life Martyred Saints.
Opening track “Satellites” features a post-apocalyptic feel in both lyrical and musical content. TV static and heavy percussion make up the background for Anderson’s smoky vocals. Attention-grabbing and ambitious, “Satellites” is a fitting way to kick off The Future’s Void.
“So Blonde” deviates from the science fiction theme of the album and is a pissy, girlfight-esque anthem reminiscent of the early days of Courtney Love in Hole. The music sounds like something played in an early ‘90s club, and Anderson’s vocals screech during the chorus for a nice dramatic effect.
“3Jane” is a lonesome lament of a love ballad for lost things. Anderson’s vocals show their diversity on the track, dropping to cotaves far below the average female vocalist's range.
Anderson names a bitter, angry track after H.P. Lovecraft’s monster creation Cthulu. The song about redemption sounds like nighttime if nighttime had a soundtrack. Anderson’s wailing vocals at the end sound effortless, but to a musically trained ear, it obviously takes serious restraint and control to sing in the manner she does. “Cthulu,” while not the track that stands out the most (that honor goes to “Satellites”), is easily the best.
“Smoulder” does what it says on the tin: smoulders. Beginning with dialogue, the sexy track quickly transitions into broken, smoky vocals that are laced with longing and pain. The bare minimum of percussion to serve as a beat creates a nice effect with a guitar that takes liberty with the whammy bar.
Catchy, African drums that sound like they could be from the future kick off “Neuromancer,” another track that highlights Anderson’s vocal diversity.
Misty vocals and an acoustic guitar make up the lovely melody of “When She Comes.” The track sounds like it could have been on Anderson’s first album, Little Sketches on Tape.
The only downside to The Future’s Void is that it’s hard to understand what exactly Anderson is singing through her muffled vocals on many of the tracks. The music is good, however, so to listeners who don’t much care what the lyrics say, this flaw won’t matter.
The experimentation on The Future’s Void pushes EMA in the right directio.
