soul

Lana Del Ye (Summertime Sadness & Jail mashup)

FUAARRRRK.
This song is not on spotify but Fairytale and my latest releases are, thanks for the support!!!<3
https://open.spotify.com/artist/3LLQItDvg58q3GWNwdMsYa?si=xZ_KtTcGRY6FmW0gkv1zvw
Instagram: asimusicx

I Kissed A Girl

Charli XCX - Stay Away

I Wanna Be Software

https://chemicalx.ffm.to/puresmilesnakevenom

Song Credits - 
Performed by Eartheater
Produced by Eartheater and Sega Bodega
Mixed by Gabriel Schuman
Mastered by Joe LaPorta

Pure Smile Snake Venom

grimes - flesh without blood (lustr remix)

katy perry - hot n cold (lustr remix)

Majical Cloudz feat. Grimes - Dream World

AZEALIA BANKS & KORNÉL KOVÁCS - SVÄVA DEMO 2

the fool nightcore2.m4a (demo idea)

Grimes x Bloodpop

Grimes - Belly Of The Beat (Angelinthetrap Remix)

This is an album for myself, my friends, and all of the sweet people that have supported me and inspired me, I love you. Let’s celebrate

OIL OF EVERY PEARL'S UN-INSIDES

Is It Cold In The Water?

Hi! Thanks to my fans & soundcloud for helping me get my login back so quickly. I wanted to post something now that it's back in my hands. Here's a cover of ~Voices Carry~. I've played it live a few times this year. It's always been one of my favorite songs but it's kind of deeply personal to me,lyrically. I recorded this in one day when a engineer had a room at Sunset Sound available.He let me use the studio for free as a favor, some of my friends came in and played the bass/guitar/drums for me after calling them 45 minutes before asking if they could try playing random stuff for me to work with/write on. Nobody has produced it (except me... I guess but this version isn't produced or mixed.It also doesn't have the synths & guitars I added today. I am out of the country so my computer keeps crashing.)I didn't want to wait until I was back to upload something. I have no idea what this sounds like in speakers either lol. This is what I call the infant demo because it's basically the scratch demo since it hasn't really been worked on & what not. It's also the only thing I can post without getting in trouble by other people involved on other songs.I promise I will be posting a lot more stuff on here & will let you know more about my album. I always feel a lot more comfortable sharing music related things here instead of Instagram etc 
thanks for the support 


I will give you one hint about one of my first two singles:

There's a fire on your street
x
Sky

VOICES CARRY COVER INFANT DEMO

Eartheater - Below the Clavicle
Format: DL
Cat.No. PAN 112S
Release Date: 5 May 2020 
Purchase/stream: pan.lnk.to/Clavicle
@alex-drewchin

Eartheater unveils a new single, “Below The Clavicle.” It is her first release for PAN since her 2018 album IRISIRI.

Eartheater shares the following about the track: “I wrote ‘Below the Clavicle’ when I was waiting to understand more about a situation before talking about it — when the meaning was still below the clavicle and hadn’t made it up to my head yet. The understanding was still underground — forging in my heart and gut. In my upcoming album, I thought a lot about lava and volcanoes and the formation of stone and mountains.”

Written and arranged by Eartheater
Produced by Eartheater
Guitar performed by Eartheater
Harp performed by Marilu Donovan
Chamber arrangements performed by the Ensemble de Cámara CSMA:
Cello - Laura Sorribas
Violin I - Belén Pérez
Violin II - Celia Álvarez
Flute I - María del Barrio
Flute II - Ana Navarro
Recorded by Eartheater and Santiago Latorre at Etopia in Zaragoza Spain
Mixed by Kiri Stensby
Mastered by Heba Kadry
Art Direction by Eartheater and Daniel Sannwald
Photography by Daniel Sannwald
Special Thanks to FUGA

Eartheater - Below The Clavicle (PAN 112)

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

Phoenix: Flames Are Dew Upon My Skin

Eartheater - Faith Consuming Hope (PAN 112)

Miss Anthropocene Out Now  https://grimes.ffm.to/missanthropocene

Download the #GrimesArtKit stems for "You'll Miss me When I'm Not Around" - https://soundcloud.com/actuallygrimes/sets/grimesartkit-remix-project

the fool nightcore2.m4a (demo idea)

Grimes (Official)

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