We're thrilled to welcome EMA back to London to celebrate the release of her upcoming new album.
She returns with a portrait of a world both familiar and alien: The Outer Ring, a pitch-black world of half-empty subdivisions, American flags hung over basement windows, big-box stores and strip malls and rage. In a year dominated by working-class alienation, EMA — a Midwesterner who has never lost her thousand-yard stare — has delivered an album that renders American poverty and resentment with frightening realism and deep empathy.
The Outer Ring is the suburban world of people who’ve been pushed out of city centers by stagnating wages and rising expense, forced up against rural communities swallowed by sprawl. It’s far more diverse than traditional images of “the suburbs” – vape shops and living-room hair salons exist next to Mexican grocery stores and Dollar General. But it’s also more deeply marked by poverty and tension, and by the anger that comes from having your story and your struggles erased from the narrative.
Songs like “I Wanna Destroy” (which shares a title with her 2015 MoMA PS1 exhibition) and “Down & Out” flicker between self-loathing and nihilism — an anger born of pain from being neglected by those in power, but no less alarming when we realize that “the kids from the void” might burn the world down.
The voices we hear in these songs — druggy, surly societal outcasts; Byronic blue-collar nihilists bringing down fire — speak to a rebellion that’s typically reserved for men. Think Bruce Springsteen’s similarly bleak outlaw portraits in Nebraska, or the quintessentially American (and quintessentially dudely) voices of Jack Kerouac or Charles Bukowski.
This band began as the Adrian Piper Cover Band, where Nadia would do “pop covers” of text excerpts from Adrian Piper’s seminal video installation Cornered. It mutated into DUBAIS during an art residency where the first song STEP BACK was written and recorded with a cellphone, inside of a video feedback loop, in a bathroom.
From absurd synth covers to bedroom pop songs about dating the devil and murdering him , Nadia’s music jumps from genre to genre, being thread together by a strong DIY Aesthetic and video art that spans over installation, performance, visual albums, experimental pop operas, etc.