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Thu Sep 18 |
ORENDA FINK
with THE MAYKIT
Fri Sep 19 |
FELIX FAST4WARD
with 3TWO & EVERAI, AN HOBBES, ABEASITY JONES
Fri Sep 19 |
CASH'D OUT AFTER PARTY FEATURING:
Sat Sep 20 |
ALBNY
with NIGHTTIMESCHOOLBUS, MAN MANTIS
Sun Sep 21 |
DEAD END DRIVERS
with LEUNG & THE WRECK, LIAT
Sun Sep 21 |
BRONCOS SUNDAY
with WATCH THE GAME ON LOST LAKE'S 10' SCREEN!, FREE SHOTS EVERY TIME THE BRONCOS SCORE!
Mon Sep 22 |
MODERN KIN
with SPIES, COBARY JAM, JAMIE COTTON
Wed Sep 24 |
HAPPY HOUR BINGO! (Win tickets to Lykke Li, War on Drugs, Cherub, Bleachers and more!)
Wed Sep 24 |
TR/ST AFTER PARTY FEATURING:
Thu Sep 25 |
DUBKOR
with MONO VERDE, TRANSVERSE WAVES, LIBERATION, FELIX FAST4WARD
Fri Sep 26 |
VANCE ROMANCE
with METAFONICS, LAKHRYTH & DJ HOBO, STEGOFORREST
Fri Sep 26 |
TY SEGALL AFTER PARTY
with FEATURING NED GARTHE (DJ SET)
Sat Sep 27 |
BLACK COBRA
with LO-PAN, KHEMMIS
Tue Sep 30 |
WAKEY!WAKEY!
with BEN FIELDS, LUKE WESLEY
Tue Sep 30 |
ZIA DJ SET (The Dandy Warhols After Party)
Wed Oct 1 |
JOSHUA JAMES
Thu Oct 2 |
WAMPIRE
with TOPS
Fri Oct 3 |
B-SIDE PLAYERS
with GUMBO LE FUNQUE, INNA DI RED
Sat Oct 4 |
FAT TONY
with OREN L, FL
Sun Oct 5 |
SAM LEE
with MEGAN BURTT
Tue Oct 7 |
ZEAHORSE
Wed Oct 8 |
DELUKA
with THE JEKYLLS
Thu Oct 9 |
WILDCAT! WILDCAT!
with WHITE HINTERLAND
Fri Oct 10 |
SCREAMING FEMALES
with PUJOL, DIRTY FEW
Sat Oct 11 |
JUNIOR PROM
Mon Oct 13 |
THE DITCHRUNNERS
with COLLIN KILTY, SCOTT KIRBY
Wed Oct 15 |
LAKES
with ANTHONY RUPTAK & HIS MIDNIGHT FRIENDS, CHANGE IN SEASON
Fri Oct 17 |
WANDERING MONKS
with J.O.B., THE FAMM, BULLHEADED
Sat Oct 18 |
CARNAGE THE EXECUTIONER
with THE GREAT GRIGSBY, TRAVELLERS MUSIC
Sun Oct 19 |
GORGON CITY
with FALCON PUNCH
Thu Oct 23 |
AG FLUX
with TRAVELLERS MUSIC, MAULSKULL, WAKE SELF, RHYME PROGRESSION, FO CHIEF (OF FRESH BREATHE COMMITTEE)
Tue Oct 28 |
FAT WHITE FAMILY
with JEFFREY LEWIS
Fri Oct 31 |
BEAR'S DEN
with DAN MANGAN + BLACKSMITH
Fri Oct 31 |
BUSDRIVER
with CLIPPING.
Fri Nov 7 |
WATER LIARS
with STRANGE AMERICANS
Sat Nov 8 |
ZAK WATERS
Wed Nov 12 |
ALL THEM WITCHES
with ABRAMS
Thu Nov 13 |
SAINT PEPSI
Thu Nov 13 |
PEGI YOUNG & THE SURVIVORS
Fri Nov 21 |
MANSIONS ON THE MOON
Sat Nov 22 |
FRONTIER RUCKUS
with DAVID WAX MUSEUM
Mon Nov 24 |
TWIN PEAKS

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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