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Thu May 5 |
THE CORNER GIRLS
with REMEMBER THE RADIO, UNDER SANCTION, MR ATOMIC
Fri May 6 |
JAMIE LAWSON
with AMY VACHAL
Fri May 6 |
SHILO GOLD (EP RELEASE)
with TEAL AND TANGENT, KIMBERLY OTTE
Sat May 7 |
THE THERMALS
with SUMMER CANNIBALS, EROS & THE ESCHATON
Wed May 11 |
HAPPY HOUR BINGO
with Win tix to Mayer Hawthorne, The Neighbourhood, Red Fang
Wed May 11 |
THE RANGE
with DAWN SAFARI
Thu May 12 |
OTHER WORLDS (ALBUM RELEASE)
with A SHADOW OF JAGUAR
Fri May 13 |
THEY CALL ME HERO (TOUR KICK OFF)
with HIGH TIDE LOW TIDE, POST/WAR, HARKENER
Sat May 14 |
GIVERS
with ANNA WISE
Sun May 15 |
THE BODY
with GHOSTS OF GLACIERS, MUSCLE BEACH
Mon May 16 |
INDYGROUND CREW LIVE IN CONCERT
with FAROUT, J BOMB, DOM CHRONICLES, SCOTTY WU, KIND DUB CREW, KAINE KARRERA, CURTA, SMOKY BARE
Tue May 17 |
AFTER BRIAN JONESTOWN
Tue May 17 |
SALES
with STRAWBERRY RUNNERS, SHADY ELDERS
Wed May 18 |
HAPPY HOUR BINGO
with Win tix to The Kills, Kaleo, Chelsea Wolfe
Wed May 18 |
LILY & MADELEINE
with SHANNON HAYDEN, MATT ROUCH
Thu May 19 |
RACE TO NEPTUNE (ALBUM RELEASE)
with SPACESUITS FOR INDIANS, NEVAYDA GUNN, CODENAME: CARTER
Fri May 20 |
THE GIRAFFES
with THE OUTFIT, ENGINE EAR
Sat May 21 |
MY BOY ELROY (of Liquid Soul & Digital Tape Machine)
Sat May 21 |
DRESSY BESSY
with CHEAP PERFUME
Sun May 22 |
DASH RENDER
with J DIRTY, SHOCK TROSTIC, NONAME, TROXY COTTON
Mon May 23 |
LE BUTCHERETTES
with SUGAR CANDY MOUNTAIN
Tue May 24 |
LANY
with ODESSA
Wed May 25 |
HAPPY HOUR BINGO
with Win tix to Caravan Palace, Growlers, Langhorne Slim
Wed May 25 |
MARC SCIBILIA
with PAUL MCDONALD, IAN MAHAN-NEEF
Thu May 26 |
BAIO
Fri May 27 |
DENVER DAY OF ROCK PRE-GAME FEATURING:
with PROFESSOR FOX BAND, POORBOY, ELISE WUNDER
Sat May 28 |
INNER OCEANS
with PANTHER MARTIN, COP CIRCLES
Sun May 29 |
ARBOR LABOR UNION
with KYLE CRAFT
Thu Jun 2 |
ZOBOMAZÉ
with NEPTUNIAN WEATHERVANE
Fri Jun 3 |
PURE BATHING CULTURE
with OKO TYGRA
Sat Jun 4 |
SLOW CAVES (EP RELEASE)
with SHADY ELDERS, THE BALTIC
Tue Jun 7 |
LEE BAINS III & THE GLORY FIRES
Thu Jun 9 |
NORA JANE STRUTHERS & THE PARTY LINE
Sat Jun 11 |
THE HITS (ALBUM RELEASE)
with GATA NEGRA, GRIPTION, STONE RIOT
Sun Jun 12 |
MAWULE (ALBUM RELEASE)
with ILL SE7EN, JERNEY, AMY KRESS, DJ ZENAS
Tue Jun 14 |
JMSN
with TIFFANY GOUCH'E, YASI
Wed Jun 15 |
CHARLY BLISS
with SOMERSET CATALOG
Thu Jun 16 |
ELIOT SUMNER
Fri Jun 17 |
DIRTY BOURBON RIVER SHOW
Sat Jun 18 |
DAVID BAZAN
with LAURA GIBSON
Thu Jun 23 |
MOVING UNITS
Fri Jun 24 |
ELECTRIC SIX
with IN THE WHALE
Sat Jun 25 |
ELECTRIC SIX
with IN THE WHALE
Tue Jun 28 |
THE BALLROOM THIEVES
Fri Jul 1 |
FRAMEWORKS
Thu Jul 7 |
PITY SEX
Sat Jul 9 |
MARISSA NADLER
with WREKMEISTER HARMONIES, MUSCLE AND MARROW
Sat Jul 16 |
WHISKEY SHIVERS
with Whiskey Treats, Caribou Mountain Collective
Sat Jul 30 |
NEW MADRID
Sun Jul 31 |
LINCOLN DURHAM

Wed Jun 25 | Lost Lake Presents | 21+

EMA  

MAS YSA

Doors open at 8 PM   |   Show starts at 9 PM   |   $12 ADV | $15 DAY OF SHOW





Having teased us with a new track ‘Satellites’ last month, released to rave reviews and scored Pitchfork’s Best New Music who said “The most bracing thing yet from an artist already more bracing than most”, EMA returns with her highly anticipated second album The Future’s Void, released on 7 April via City Slang.

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 ambitious masterpiece that revealed a unique and feed-backed noisy guitar style, a skill for visceral songwriting and a DIY recording ethos, it showcased a distinctive sonic signature that sounded like nothing else around.

If Past Life Martyred Saints was an inward exploration of human relationships and their toll, The Future’s Void catapults them out into space, both thematically and musically. The album meditates on universal themes of how we interact with the wider world and how that interaction is increasingly modified by technology. Through collaboration with Leif Shackelford on production duties, the sound of this record reflects these themes and instead of using electronics to create a polished, airless environment, Anderson’s techno-future thrashes strongly between harsh tones and paranoia, to beautiful colour bursts and mellow guitar strums.

Lyrically, Anderson tries to answer the question so often put to her during the last round of press and interviews: “How does it feel?” to be pushed through a media vortex and back. The answer is of course, complicated. On ‘3Jane’ she seems plaintive and introspective, with lyrics about visuals and consent that are even more poignant in the age of posted YouTube assaults, bullied teen suicides and revenge porn. On ‘Neuromancer’, an electronic punk rant with analog synths and machine drums, she rages, and explores the implications of building an online database of all your pictures and information. “It’s basically an AI (artificial intelligence)” she says. And it’s not just those in the media spotlight who have them, it’s all of us.

This is where Anderson has always excelled, in taking the chaos and angst of the modern age and making it relatable. While sonically The Future’s Void is a big step up and out, lyrically it’s in a similar vein to Past Life Martyred Saints, with EMA herself laying bare, cracking sly jokes, and making the nuances of her story seem like ours as well.

“I realised that we were all kind of building these AIs, whether intentionally or not, and how the data we post online is parsed by programs that see patterns in our behaviour that we fail to see ourselves; how and where and what we eat, status reports that reveal our moods, our shopping habits, who we date and who we stalk, where and how we spend our money. Literally, they know more than you do about the things that you do. And that’s just the data we give up willingly, to say nothing of what is taken surreptitiously.”

The opening track “Satellites” was written before the current NSA scandal and hints at a more nostalgic paranoia, in drawing current parallels to the dream of the former Soviet “satellite” countries, where “everyone has equal access but is also under constant surveillance”. Musically the track hints at a further emboldened EMA, without forgoing the industrial-noise and glorious fuzz of her solo debut and previous work with Gowns. Opening with a wall of hiss, scree and galloping piano motif, ‘Satellites’ bursts into a flame of feedback and bass to provide one her best tracks to date, as well as introducing analog modular synths into the mix.

As well as EMA pulls off these topical and outspoken tracks, she’s still got a knack for a classic pop tune as heard on the likes of ‘So Blonde’, with its hooky grunge riff and playful lyrics about “generic and specific cool blonde kids, maybe you knew one in high school or college or at a party at 5am in your 20s”. Similarly, the catchy ‘When She Comes’, a nostalgic paean about a teenage Riot Grrl friendship. Along with ‘Dead Celebrity’, these tracks are at odds with the more abrasive and electronic likes of ‘Solace’ and ‘Cthulu’, the latter climaxing with a Gary Numan ‘Are Friends Electric’ style breakdown that sounds like nothing Erika has produced before. Despite moving towards electronic sounds, the machines are mostly played live and they often possess aDIY ‘first take best take’ aesthetic that rails against the carefully constructed and glistening sheen of the digital age. This punk spirit maintains a spontaneity that is all too often lost.

“This record is the sound of resistance to digital commodification” Erika explains. “I naturally gravitate towards hooks and melodies and in some ways, the structure of these songs is the poppiest yet. The harshness and production strikes a balance with that so they don’t sound like they could be on adverts.”

So, The Future’s Void means the future IS void? Or the void that belongs to the future? According to Anderson, both work.

Either way, The Future’s Void is a record that seeks to deal with the fact that certain ideas that once seemed futuristic are now the norm, while also trying to sidestep a lot of the musical tropes that come along with exploring technology. It straddles the ugly and animalistic, the pretty and civilised, the digital and the analog and the past and the present, resulting in a timeless and yet timely piece of work. And like any great punk record, it questions social convention and rebels against the status quo.

EMA continues to evoke a unique and ambitious sound that saw her rightfully recognised as one of the most singular artists to emerge in 2011, and is likely to send her back into the public consciousness once again in 2014.

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