Longtime listeners to the output of Erika M. Anderson may not recognize her new release–under musical acronym EMA–as content created by the same individual, but her most recent collection of songs, on sophomore album The Future’s Void stands to garner her a legion of new admirers, due to the richness of material and her characteristically unique delivery. The follow-up to much-acclaimed solo debut Past Life Martyred Saints, we hear Anderson’s most decidedly conventional music to date, as her frenetic, South Dakota-based persona evolves into an artist immersed in all things Los Angeles.

Subtle traces of her previous prowess as a noise and experimental rock performer, in bands Amps for Christ and Gowns, are present on buzzing, drone-led tracks like opener Satellites-. Others, like lead single So Blonde,  are drenched in classic-era Courtney Love posturing and a heavy dose of unabashedly over-produced pop-goodness, reminiscent of pioneering nineties songstresses like Liz Phair. Whatever her methods, EMA maintains a lurid grip on authentic emotions and experiences, and her lyrics evoke an alluring stream-of-consciousness finely tuned to post-post-modern experiences (on 3Jane: “feel like I blew my soul out/across the interweb”). Her beautiful vocal delivery, cloaked in the frank and sometimes trembling clarity that echoes female vocalists from the past half-century– from Kate Bush to Karen O–is the final and most enduring aspect of her performance.

The Future’s Void demonstrates a transformation from emotive performer to carefully considered aesthete–complete with bleached-blonde hair-stroking, edgy effects, and 90s nostalgia! Pre-order EMA’s new album out on Matador Records April 8th and take a first listen on NPR.

Pre-Order The Future’s Void.

The Future’s Void First Listen via NPR