The Future's Void

EMA - The Future's Void
Critic Score
Based on 29 reviews
2014 Ratings: #58 / 956
User Score
Based on 139 ratings
2014 Ratings: #223
April 8, 2014 / Release Date
LP / Format
Matador / City Slang / Label
Art Pop, Indie Rock / Genres
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The Skinny

Amidst this undercurrent of instability, Anderson emerges as an arch dramatist, her lyrics, though still pleasingly opaque, tracking further and wider than before.

The 405

The record's as disarmingly insular as her debut, Past Life Martyred Saints, but also a statement of, at times uncomfortable, universality. 

The Line of Best Fit

The Future’s Void is an album that, rather than plead with us to disconnect from the online, asks us to face up to a world with where internet, surveillance, selfies, the NSA aren’t going to go away

Under The Radar

This record feels even more pinpoint-focused than her first—perhaps thanks to its recurring themes—and the shaking, distorting sounds she's wrapped around her voice are as beautifully unsettling as her words.

Drowned in Sound

The music operates less as an end in itself and more as a counterpoint to the keening, whispering, screeching, gasping voice-as-expression-of-humanity: within the silicon maze, she suggests, there’s a ghost trying to get out.


Lost in the internet void, Anderson muses on lonely superhighways, full of information and communication but presenting only disassociation and a drain on the soul. She nails these aspects as a modern disease, whilst putting in a quite breathtaking performance that thankfully offers a kind of life raft of humanity and compassion.


The Future's Void's often dazzling vignettes aren't quite as striking as Anderson's debut, but they show she's an artist unconfined by any one sound or perspective, and more than capable of engaging minds as well as hearts.


EMA has a lot of things to say, and we should probably be listening to them.


EMA has blogged that to make this record she’d “avoided almost all contact with the outside world”. How paradoxical that she’s returned with her most outward-looking work to date. 

Tiny Mix Tapes

It’s a slicker, more professional, and more abstract matrix-y record that might put off any fans of the singer’s lo-fi confessional work. 


Through the static and fuzz comes a clarity of sorts, that truth is oftentimes going to be something both comforting and discomforting; it's why The Future's Void serves as the perfect modern day soundtrack.


Bypassing self-congratulatory, surface-skimming grump-outs about stupid-ass #selfies and those doggone #milennials, EMA has crafted a wide-eyed, open-eared, reasonably horrified, digi-noise drone-folk treatise about the soul-sucking, privacy-wrecking qualities of online life.

Consequence of Sound

Lyrically, it dances around a single theme: human life in the wake of the digital renaissance. But despite its gloomy title, The Future’s Void finds genuine moments of hope and grace in the face of all the static.

Pretty Much Amazing

In general, the biggest offense The Future’s Void commits is that even when it’s successful, it still sounds cold. Anderson’s melodies are consistently strong – none of these songs is forgettable – but ultimately uncommunicative.

An exceptional follow up to Past Life Martyred Saints. EMA makes an album that defends us against the incoming digital revolution. The songwriting is though-provoking and the production is for the most part stellar.
Good Album with good tracks like Satellite, So Blonde or Cthulu
Best Track: Satellites, 100 Years, Dead Celebrity
Worst Track: So Blonde
Most Overrated Track: 3Jane
Most Underrated Track: Neuromancer
First half is stronger then the second, but it still holds together as an awesome album. Much better then her debut imo. Smoulder is the album highlight
Mainstreamly alternative, she has the power of expression to her side.
Let her spit it.
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Track List

  1. Satellites
  2. So Blonde
  3. 3Jane
  4. Cthulu
  5. Smoulder
  6. Neuromancer
  7. When She Comes
  8. 100 Years
  9. Solace
  10. Dead Celebrity
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Added on: January 21, 2014