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

NEED TO BE EDITED

@motionxbeats
@tribaltrapmusic
@the-games-we-play

motionxbeats - OMEGA [Hardwave Chapter Four]

anotherday - Eternally

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

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

Scripture

Trinity

Supersoaker

Solid Liquid Gas

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

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

Mitosis

The Girl Who Lost The World

KMT KI Media 2025 (15.08.2025)
Album Trilogie Nr. 07 "Inquisition (1/3) - Seeds of Distrust" by KMT - Style: Synthwave, Opera, Electronic, Musical, Epic | Tracks: 30 (ai generated)
Lyric: English

Theme: Explore the atmosphere of fear and paranoia that birthed the witch hunts. See family turn on family as fear grips community after community! Directed and produced by Kurt Michael Treichl.

Track 01: Village Lullaby
synthwave, folk, opera

Track 03: The Malleus Maleficarum
synthwave, opera, darkwave

Track 05: Whispers in the Dark
synthwave, opera, electronic

Track 07: Midwife's Curse
dark synthwave, opera, experimental electronic

Track 09: The Harvest Fails
synthwave, opera, electronic

Track 11: Herbalist's Secret
synthwave, opera, experimental

Track 13: The Inquisitor Arrives
synthwave, power opera, electronic

Track 15: Confession's Price
synthwave, opera, experimental

Track 17: The Accusation Spreads
synthwave, opera, experimental

Track 19: Sister Against Sister
synthwave, opera, electronic

Track 21: The Devil's Pact
dark synthwave, opera, electronic

Track 23: Children's Testimony
synthwave, opera, experimental electronic

Track 25: The Weight of Silence
synthwave, opera, electronic

Track 27: Village Ablaze
synthwave, opera, darkwave

Track 29: Seeds of Doubt
synthwave, opera, electronic

If you would like to use my music commercially, please contact me. No financial income may be derived from my music without my permission. My music is free for private use. However, it would be appreciated if you would credit me (Kurt Michael Treichl).

Thank you very much for your time and ear. Enjoy the journey through my assisted artificially generated music paradise.

Album cover and music generated in coopertion with AI by © Kurt Michael Treichl

Best Regards,
Kurt Michael Treichl (KMT KI Media) - Austria / Salzburg

Visit me at
https://www.ai-music.at (for free music)
https://www.mystic-arts.com (for free pictures)
https://www.kmt.zone (for free licenses)

08 Midwife's Curse v2

Soundtrack to my video, ONE SPECIES: https://www.youtube.com/watch?v=DKTg9RpTLMM

One Species

The Pom-Poms = Kitty + Sam Ray
email us! pompomsband@gmail.com

FULL CIRCLE

Crystal Skies
Facebook: www.facebook.com/crystalskiesofficial
Twitter: www.twitter.com/itscrystalskies
Instagram: www.instagram.com/crystalskiesofficial/
Spotify: spoti.fi/2sCEqGmS

SLANDER
Facebook: www.facebook.com/slanderofficial
Twitter: www.twitter.com/SlanderOfficial
Instagram: www.instagram.com/slanderofficial
Spotify: spoti.fi/2Ilt1D8

SLANDER - Love Is Gone (ft. Dylan Matthew) (Crystal Skies Remix)

Stoked to finally share this one with you guys! Some of you have been singing along to this in my sets for a year now. Shoutout to Bright Sparks for the vocal and to everyone at Ophelia Records for pushing this. And thank you all for the continued love and support. Lemme know if you're digging it!

Talk (feat. BRIGHT SPARKS)

Time

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

Phoenix: Flames Are Dew Upon My Skin

Eartheater - How To Fight (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

Eartheater - Volcano (PAN 112)

Eartheater - Faith Consuming Hope (PAN 112)

Having a blast scrapping xD Until I understand properly what I am doing he he. The scraps are made between 30 min to 60 min xD

Scripture

EARTHEATER

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