For me, this list is the most important thing I write all year. While I enjoy all the various writing avenues I take, the “Top Albums” list is really the end-all-be-all. I’m not blind to the list of other music websites, and as I peruse them, I always find myself scoffing or shaking my head in frustration. Sometimes it’s because of the thinly veiled politics behind picks; other times it’s the unwarranted hype given to an artist who still needs time to grow. I like to believe that I’m so outside the industry and that I can give you a list that is based solely on my passion for music that lurks outside the mainstream. Once again, I’ve compiled a list of some incredible albums that hail from a wide range of genres. Give the first 20 a read through and a listen, and I’m sure you’ll find something that strayed beyond your listening peripheral in 2014.
Tag Archives: the future’s void
The Future’s Void
On EMA’s debut Past Life Martyred Saints, Ericka M. Anderson exposed every weakness and flaw imaginable on what would be one of the most emotionally raw albums of 2011. To expect her to return to the well of misery again would be masochistic, and fortunately with The Future’s Void, she’a turned the mirror on the listener, exploring our self-image and how we mold, mutilate, and mask it via the internet. While Martyred Saints examined how we see ourselves, 2014’s The Future’s Void dissects how we want other’s to see us and the self-inflicted vulnerability that comes with it.
Anderson has claimed that The Future Void isn’t a concept album. Despite this assertion, every song on the album seems to merge at some point back toward references to what she sardonically labels as the “superhighway.” From the cover image of her holding up a vacuumous virtual reality headset to the songs’ reoccurring imagery of “Big Brother” watching over us, this album definitely has a focus if not an overlying theme. This message is best found on album highlight “3Jane” where Anderson laments “Feel like I glued my soul out across the inter-webs and screamed/…It left a hole so big inside of me.” The song builds over a rolling piano as Anderson whispers out her futile frustrations.