I JUST realized that Eartheater can also be ear theater AND IT MAKES SO MUCH SENSE

This should be a song on its own 🔥🔥🔥🔥

this song got me spinning like a magnetar

vocal not trap

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

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

Scripture

'Out of Body' is AQNB's fifth digital release of new music and visual works compiled by our London and Los Angeles-based team. 

Download for free: www.patreon.com/aqnb
Buy:  bit.ly/3v1zoD3

The download-only album features artists found in AQNB’s orbit, whose contributions reflect a notion of sound and art in the aftermath. Together, this trans-dimensional auto reply under accelerated technocapitalism presents as a eulogy to the year that never was.

Music by:
ANIMA
Helica
shushu
user2222 & ANDREW GOES TO HELL

Visual works by:
4fucksakebabes
Alexandra Koumantaki

Cover artwork by:
Margaret Haines

Acknowledgments:
Steph Kretowicz, AQNB editor
Jared Davis, AQNB associate editor
Matt Dell, AQNB music editor
Caroline Heron, AQNB managing editor

Isaac Treece, mastering

Helica, 'Doorkeeper' (2021). Courtesy AQNB, London; Los Angeles.

Trinity

Supersoaker

Solid Liquid Gas

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

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

Mitosis

BLINK (EARTHEATER, TONY SELTZER Remix)

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

OG FML (feat. Travis Scott)

Dual single by @0800shygirl 
Produced by @segabodega

Buy now: smarturl.it/NXX001

Artwork by Shygirl
Out now on NUXXE

Mastered by Alchemy

SHYGIRL — MSRY

Nivea by @segabodega is out now including new track Bacardi.
Get them both ☞ smarturl.it/sb-nivea

Artwork by Simon Whybray
Mastered by @ziro-uk

Follow the artist:
http://facebook.com/segabodega
http://twitter.com/segabodega
http://instagram.com/segabodega_

Get Nivea

Sega Bodega - Bacardi

https://soundcloud.com/dinamarca117 - Sol De Mi Vida (Vocalized) out July 26th
<3 https://soundcloud.com/coucouchloe

Sol De Mi Vida (Vocalized)

Dinamarca - Campana (feat COUCOU CHLOE)

Written and performed by Eartheater
Produced by HaraKiri & Eartheater
Mixed by Kiri Stensby
Mastered by Heba Kadry

Eartheater - Solid Liquid Gas (prod. Hara Kiri)

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)

Time

BLADEE - OPEN SYMBOLS(PLAY)BE IN YOUR MIND from EXETER edit by me :)

BLADEE - OPEN SYMBOLS(PLAY)BE IN YOUR MIND [Edit]

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: https://bit.ly/2XtJGvQ

Scripture

EARTHEATER

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