Past Life Martyred Saints is the debut studio album by American singer-songwriter and guitarist Erika M. Anderson (also known as EMA), former lead singer of the noise-folk band Gowns, released in the United States on May 10, 2011, under the relatively unknown label Souterrain Transmissions.

[3] The album is noted for showcasing Anderson's vulnerability, lyrically dealing with themes of self-harm, drug use, and unsuccessful relationships.

[3] However, before she decided to return from West Oakland to her parents' basement in South Dakota, she received a contract offer from indie label Souterrain Transmissions to release a solo album.

[10] The title of the record was derived from Anderson's ex-boyfriend's brother, who jokingly held a belief that he was a martyred saint in a past life.

[15] In an interview with The Village Voice, Anderson cited rock musician Lou Reed as the model for her songwriting style on Past Life Martyred Saints.

[16] J. Edward Keyes of Rolling Stone attributes the "wintry layers of sound and startling left turns" in the album to Anderson developing her lyrical technique while simultaneously editing avant-garde videos.

[19] Many songs on the album contain moments of Anderson gasping for air between lyrics, which Ad Mehta from the online publication One Thirty BPM described as being "intimate, dramatic, and potent.

Over its length, the song shifts in style several times, containing both a folk-influenced introduction and a midsection devoid of musical instrumentation.

"[35] Ian Mathers of PopMatters awarded the record a nine out of ten, feeling that "EMA's work is simultaneously some of the most interesting I've heard in years, and jaggedly alive, the furthest thing from any sort of academic exercise.

"[18] Skinner further commented on the album, stating it "certainly isn’t a unanimously easy listen (that much should be clear from its title alone), but themes like those of ‘Butterfly Knife’ are leavened by that ever-present defiance.

"[18] Nick Neyland from Pitchfork lauded the album, calling it "a fiercely individual record, made by a musician with a fearless and courageous approach to her art.

"[21] Paul Schrodt of Slant Magazine observed that "Rock music is not an uncommon way to deal with pain, either for the people who make it or for those who listen to it, but it's rare when those raw emotions translate into a record as focused and accomplished as EMA's debut".

[25] Ad Mehta from One Thirty BPM gave the record high marks, stating "With fresh, sonically adventurous juxtapositions, and bold, honest lyrics, [Anderson] engages the listener in an intense, emotional journey.

[30] Theon Weber from The Village Voice concluded that "[Anderson] has a huge talent for drama—when to build, when to break, when to whisper or coo or yell, when to camp a while in a looping melody and when to move on—and the album's 37 minutes feel majestic and unhurried.

"[40] Andrew Baer of No Ripcord found the album to be "an overall cohesive success", but he felt that the record owed its "quality to the unwavering confidence of [Anderson's] delivery, both musically and lyrically.

[31] Andrew Perry of The Daily Telegraph lauded the record for its emotional depth, but felt that Anderson's style was similar to that of other artists.

[43] Patrik Wirén of the Swedish newspaper Metro International awarded the album three out of five stars, calling it a "primitive recording".

[44] Spin magazine included the record among thirty-three others in its mid-year list of the best albums of 2011, commenting that Anderson "unleashes everything from tinnitus-inducing, reverb-soaked guitar drones to light-as-air acoustic ditties and pseudo-industrial bangers.

[58] Under the Radar included the record at number six in its year-end list, concluding that "Anderson positioned herself as the 50-Ft Queenie that inspires devotion not through intimidation but with an emotional candidness that feels surprisingly universal.

After the album's distribution, Anderson received high praise and honors from various music publications, including the annual "Artist to Watch" from Rolling Stone,[2] which led to noteworthy buzz on blogging websites.