[3] In his review for Pitchfork, Mark Richardson wrote, "despite the lyrical clunkers and ill-advised production choices, The Future’s Void has the feel of a real statement, of an artist trying for something new even if she doesn’t always get there.

And the EMA project is antithetical to the idea of perfection anyway, so combing through the messy whole to find the places of clarity and insight feels somehow appropriate.

EMA followed up 2011’s critically acclaimed Past Life Martyred Saints with a navel-gazing passion project, and the best thing she’s done.

"[3] Rolling Stone wrote in its own best-of-the-year note that "Erika M. Anderson made the best Nineties album of 2014 (if any of us were worried about technology and surveillance taking over our lives 20 years ago).

Her follow-up to 2011's awesome Past Life Martyred Saints pulses, clangs and simmers—it's unsettling one moment, soothing the next and always a smartly satisfying listen.