👏👏👏👏👏👏👏👏👏👏nice work 👏👏👏👏👏👏👏👏👏

This sounds like someone running toward freedom for the first time, into the unknown

LOL what is this? I came to the wrong song. bahaha

Easy for you to say. I agrre but that is speaking gor yourself. I love this. it srikes me as a sort of self portrait reflecting the current state of consciousness bein the hot mess of damaged lament which is sensed my myself

Written by BEA1991 and Sega Bodega, produced by Sega Bodega.

Tranquility (Part 2)

GON Live Beatbox Looping @ LRT Opus Radio, Minimal Mondays

GON Live @ LRT Opus Radio (Minimal Mondays)

Hours

Artist: Eartheater
Album: Metalepsis
Release Date: 2/24/15
Hausu Mountain, HAUSMO 25
For more information, visit:
http://hausumountain.com/?page_id=1920

Eartheater - Homonyms

Nova

Lyrics:
Only in my dreams are we cool
And even then you don't love

I just want the pain to stop
I just want the pain to stop
I just want the pain to stop


It feels like someone is twisting
A knife in my chest, in my heart,
In my chest, In my heart, in my stomach


I just want the pain to stop
I'll be in my own lane and stuff
While you have fun
I want the pain to stop
I just want the pain to stop.

i just want the pain to stop

from the album "RIP Chrysalis" coming out on Hausu Mountain on 10/20/15

For more info:
hausumountain.com/?page_id=2282

Eartheater - Wetware

Edition 1

We Walk Together

Written and Produced by Charlotte Day Wilson

Twitter: https://twitter.com/cdaydreamz
Facebook: https://www.facebook.com/DAYWILSONMUSIC/
Instagram: https://www.instagram.com/cdaywilson

After All

Oh my my

No harm

Eartheater — IRISIRI 
Format: LP/CD/Digital
Cat.No: PAN 86
Release Date: 08 June 2018
Purchase: http://p-a-n.org/product/eartheater-irisiri-pan-86/
BC: https://alexdrewchin.bandcamp.com/album/irisiri

Eartheater (aka Queens based artist Alexandra Drewchin) distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and almost recklessly romantic and gestural electronica. A body of viscerally emotive live performance stands alongside her recorded output, realized by her fearless physical investment and gut-wrenching vocal sincerity.

IRISIRI, Eartheater's third full-length record, lays out a shifting network of abstract song craft, laced with sudden structural upheavals and collisions of mutated tropes from numerous sonic vocabularies. Modular synth staccato plucks hammer out in arrhythmic spirals over a carefully muzzled grid of pumping kicks - unleashed in unpredictable disruptions.  Technoid stabs mingle with crushed black metal. An icy OS reads poetry against a bed of granular synth swells.  Drewchin's sirening whistle-tone vocals drape over relentless harp arpeggios. Eartheater confounds expectations of structure and resolution before deciding to thread in a sugary melody that snaps us back into some conception, however hazy, of pop songwriting. Guest spots on  IRISIRI charge Drewchin's ideas with concordant energies, from the stark imagist poetry of Odwalla1221 on Inhale Baby, to the sheer lacerating force of Moor Mother's unflinching verse on MMXXX.

Drewchin's lyrics, strewn with flourishes of wordplay and symbolism, explore themes of her autodidactic experience - playing with the tutelage of the ‘pupil’ within the ‘iris' mirrored in the palindrome  IRISIRI. One motif appears as a song name,  C.L.I.T., which Drewchin breaks down into "Curiosity Liberates Infinite Truth." The acronym stands as a microcosm of the Eartheater project in its holistic combination of idiosyncratic spirituality and cheekiness, presented with an earnest confidence that some could consider confrontational. In spite of this lexicon’s maximal effect, it comes from a very personal place as she states, “curiosity has had to be the currency of my education". On OS In Vitro, she reminds us that "These tits are just a side-effect," and "You can't compute her," as if to acknowledge the clouding effect of sexuality and technology in the face of a higher self-significance. In the record’s accompanying video piece, Claustra,  she slides between "the owning of my loneliness" and "the end of the loaning of my onliness”, encapsulating images of self-purifying 
isolation and the rejection of artistic exploitation with the flip of two syllables. The transmuting landscape of IRISIRI is riddled with evocative poetry and evidence of Drewchin’s development as an artist since her debut in 2015.

Drewchin performs and collaborates with art duo and close friends FLUCT. In February 2017, she starred in Raul de Nieves and Colin Self’s opera The Fool at the Kitchen. In April 2017, featured on two tracks from Show Me The Body’s  Corpus I mixtape alongside  Denzel Curry  and Moor Mother. She’s currently composing work for the contemporary chamber orchestra,  Alarm Will Sound, that will debut in May 2018. Her new live set sees her accompanied by the concert harpist Marilu Donivan.

The release is mastered by Rashad Becker at D&M, featuring photography by Elise Gallant.

@alex-drewchin
http://www.eartheater.solar/
http://www.p-a-n.org/

IRISIRI

Eartheater — Trespasses (PAN 86)

official video at http://www.youtube.com/watch?v=1FLFnmv1wWI&hd=1

「Manners」

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 - Volcano (PAN 112)

Eartheater - Metallic Taste of Patience (PAN 112)

A label run by Doug Kaplan and Max Allison. We operate out of Chicago, IL and release music on vinyl, on cassette tape, and digitally via Bandcamp.

It’s likely that we’ve never met, but we believe that all of the decisions you make as a person operating in this world are well-intentioned and correct in their own way and with that belief in our minds we’d like you to know how deeply we admire you.

Eartheater - Homonyms

Hausu Mountain

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