CALENDAR     |     DIRECTIONS     |     CONTACT     |     HAPPY HOUR     |     BOOKING    |     PAST ARTISTS    |     BDMF  


Tue Apr 28 |
HISTORIES
with BAD LYRES, SIGNS AND SIGNALS, PELAGIUS
Wed Apr 29 |
BIG JILM (A TRIBUTE TO WEEN)
with BLACK MOUNTAIN BREAKDOWN (A TRIBUTE TO LED ZEPPELIN)
Wed Apr 29 |
HAPPY HOUR BINGO - Win tix to Purity Ring, Death Grips, Neon Trees + more!
Thu Apr 30 |
HIGH FEATURES (MIXTAPE RELEASE PARTY)
with MULATTIC, M.O.A., PDF, ADAM SELENE
Fri May 1 |
ROCK FOR YOUTH / AIR DUBAI AFTER PARTY
Fri May 1 |
AUTHOR & PUNISHER
with KELDARI STATION, PARASITE CORE
Sat May 2 |
ROCK DE MAYO FEATURING:
with IZCALLI, LSD BAGS, THE PHOTO ATLAS, EL CRO, MADAFRA, BRANDED BANDITS, DURAN
Sun May 3 |
SIMPLE STEVEN
with SUMGUY, NEWCE, HOLBROOK & QOZI
Mon May 4 |
STAR WARS DE MAYO FEATURING:
with 3TWO & EVERAI, TRAVELLERS MUSIC, J.O.B., A BLACK DAY, QBALA, BRISCO JONES
Tue May 5 |
SÓLSTAFIR
with ANCIENT VVISDOM
Wed May 6 |
CANYON COLLECTED
with BISON BONE, IAN MAHAN-NEEF
Thu May 7 |
WOLF ALICE
with MADE VIOLENT
Fri May 8 |
BOTTLE ROCKET SCIENCE
with THE THREADBARONS
Mon May 11 |
INTER ARMA
with YAUTJA, USNEA, PRISON DEATH
Wed May 13 |
SHOCK AND DASH
with SID MADRID, ROB4REAL, RITHIM, QUINCY CRUZ & BBPI
Thu May 14 |
ATTACK ON VENUS
with GANG FORWARD, WAKE THE PILOT
Fri May 15 |
MOTION TRAP (CD RELEASE SHOW)
with PLUME VARIA, QUANTUM CREEP
Sat May 16 |
At the Walnut Room
Sat May 16 |
IVAN & ALYOSHA
with KRIS ORLOWSKI
Sun May 17 |
TRANSVERSE WAVES
with INNA DI RED, GIVERS GAIN
Mon May 18 |
CAS HALEY
Wed May 20 |
JESSE MARCHANT
with COUNTY
Thu May 21 |
MAIN ATTRAKIONZ
Fri May 22 |
SCARLET CANARY
with RESONANCE, HALF PAST NEVER, VIVID FICTION
Sat May 23 |
TRUE WIDOW
with PALEHORSE/PALERIDER
Sun May 24 |
ALL BOY / ALL GIRL
with TYTO ALBA, SCHOOL DANCE
Tue May 26 |
FLY MOON ROYALTY
Wed May 27 |
MEG MYERS
with WILD PARTY
Thu May 28 |
JULY TALK
with CHAMPAGNE CHARLIE, SMOKESTACK RELICS
Fri May 29 |
CROCODILES
with COLFAX SPEED QUEEN, ROOTBEER AND MERMENTAU
Sat May 30 |
BULLY
with HOPE DEALERS
Sun May 31 |
WOODHOUSE
with RICHIE ALLEN & THE BAD IDEAS
Wed Jun 3 |
HOP ALONG
with FIELD MOUSE, LITHUANIA
Thu Jun 4 |
HOLIDAY MOUNTAIN
Sat Jun 6 |
THE DREAMING (Members of Stabbing Westward)
Fri Jun 12 |
THE WAY DOWN WANDERERS
with PM BUYS
Mon Jun 15 |
EMILY FREMBGEN (CD RELEASE PARTY)
with SPACESUITS FOR INDIANS, MONA MAGNO
Tue Jun 16 |
SURFER BLOOD
with ALEX CALDER
Tue Jun 16 |
LITTLE HURRICANE (AT WALNUT ROOM)
Wed Jun 17 |
HAMILTON LEITHAUSER
with JACK & ILIZA
Fri Jun 19 |
AN EVENING WITH DELTA SPIRIT & FRIENDS
Sat Jun 20 |
AN EVENING WITH DELTA SPIRIT & FRIENDS
Sun Jun 21 |
BETA PLAY
Wed Jun 24 |
LENKA
Fri Jul 3 |
THE FAMILY CREST
Tue Jul 14 |
SONREAL
Mon Jul 20 |
THE HUNTS
Sat Aug 1 |
HEATERS

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.

powered by: companyBE