come at me at the centrum in Amersfoort restaurant MADONNA SO ,,WE LL HAVE A MOHITO PLS LOURDES

Earth eater ate that hope she works with more artist like this

Stream/Download: https://chemicalx.ffm.to/scripture

Eartheater Socials:
http://instagram.com/eartheater
http://twitter.com/younggummystone

Scripture

Romeo

Cicada (feat. Arca)

Lolahol - Lock&Key
https://chemicalx.ffm.to/lockandkey

Song Credits -
Executive producer - Eartheater
Production - Samuel Burgess, Kiri Stensby, Eartheater
Lyrics - Lolahol, Eartheater
Writing - Lolahol, Eartheater
Engineered by Kiri Stensby  
Mastered by Joe LaPorta

Lyrics - 
Why can’t I just lock into a Polly pocket
It could all be crystal clear 
Keep a photo of you in my locket 
addicted to the comfort 
Till the comforter gets 
too hot too hot to sleep 
I’m tossing and tearing 

I need a breeze
Whisk me away 
I need to breathe
Nothing to say

Snap you in and out of my direction 
Running to you from both ends 
Wanna keep you close for my protection
The delusion keeps me safe
No sleep 
Next plane 
No sleep 
Make up 
Next club 
Next car 
Next plane 
No sleep 
No fear 

I need a breeze 
Whisk me away 
I need to breathe 
Nothing to say 

Gimme that street rat 
Street rat 
black car 
white trail 
Chem trail 
White line 
Rub me Like a genie 
You’re a genius 
And I need that 
Can’t fuck w a dummy 
Ya you know that 
Cus you know me 
Know me like that 
Looking at each other like
freeze tag 
Freeze tag 

I need a breeze 
Whisk me away 
I need to breathe 
Nothing to say t I just lock into a Polly pocket
It could all be crystal clear 
Keep a photo of you in my locket 
addicted to the comfort 
Till the comforter gets 
too hot too hot to sleep 
I’m tossing and tearing 

I need a breeze
Whisk me away 
I need to breathe
Nothing to say

Snap you in and out of my direction 
Running to you from both ends 
Wanna keep you close for my protection
The delusion keeps me safe
No sleep 
Next plane 
No sleep 
Make up 
Next club 
Next car 
Next plane 
No sleep 
No fear 

I need a breeze 
Whisk me away 
I need to breathe 
Nothing to say 

Gimme that street rat 
Street rat 
black car 
white trail 
Chem trail 
White line 
Rub me Like a genie 
You’re a genius 
And I need that 
Can’t fuck w a dummy 
Ya you know that 
Cus you know me 
Know me like that 
Looking at each other like
freeze tag 
Freeze tag 

I need a breeze 
Whisk me away 
I need to breathe 
Nothing to say

2022 Chemical X

Lock&Key

Lolahol - Cuntradiction

https://chemicalx.ffm.to/lolaholgo

Cuntradiction

Nymph_o

Shygirl - Wildfire (Eartheater Remix)

new single out now on @NUXXE
prod by @segabodega

pre-order 'Cruel Practice' EP : http://smarturl.it/NXX004
official release May 25th 

artwork by Samuel Ibram
mastered by Ziro

Cruel Practice

From the debut album Salvador, out 14/2
Preorder/stream: segabodega.ffm.to/salvador

Follow:
instagram.com/segabodega_
twitter.com/segabodega
facebook.com/segabodega
youtube.com/segabodega

Salvador

Salv Goes To Hollywood

Priestess

Spit in Yo Mouth

Is It Love or a Pyramid Scheme

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: bit.ly/2XtJGvQ

Lock&Key

Lolahol

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