So Many Ways

So Many Ways (feat. POiSON GiRL FRiEND)

We're
(reaching for hope)
With every note
(reaching for hope)

Underneath the stars, we sing as one
In harmony forever, the journey's just begun

(在这星空) 让心灵交织 (Let souls unite)
在温暖的光辉中 (In warmth we shine)

Mmm... oh...
In the night sky shining, shining
Whispers of longing, they
Echo through valleys and mountains,
Hearts are searching for peace, searching for peace
Songs of the ancients, divine sounds
Lift us to realms beyond, realms beyond

Well,
yes yes, oh...
In this world
(world)
Filled with dreams of longing
We're
(reaching for hope)
just
(reaching for hope)
Hey,
in this world, this world
(world)
world
Is filled with dreams of longing, hey
We're
(reaching for hope)
oh, yeah
(reaching for hope)

When will we find it
(find it)
Fates intertwined
(twined)
Let the harmony rise, we'll share the light
Chasing the echoes
(echos)
Let the souls unite
(unite)
With a voice so pure
(pure)
Our spirits will soar
(soar)

Ethereal voices rise
In celestial harmony

在这星空 (星空)
翩跹起舞，带着期盼
心灵的低语，如流水轻声
越过山川
羊皮的回响 (回响)
在寂静中绽放，交织梦境

哦，
是的，哦…
在这个世界

在这星空 让灵魂飞扬 (In this starry sky, let souls take flight)
穿越万千梦想的海洋 (Crossing oceans of countless dreams)

所以，让我们 (So let us)
(相拥一起) (Embrace together)
在心灵的旋律中 (In the melody of our hearts)
让希望的光 (Let the light of hope)
照亮每一个角落 (Illuminate every corner)

再回首，遗忘的记忆 (Looking back, the forgotten memories)

在这星空 (星空)
我们的声音交织，心灵共鸣
在微风中飘扬，回响在空灵
如同河流流淌，携带梦想的力量
带我到那儿，那片心灵的家

光芒闪烁，映照内心的渴望
彼此的温暖，如晨曦的阳光
 
在这星空 (星空)
我们的梦想如星河般璀璨
引领着每一个灵魂，破开黑暗

哦，
是的，哦…
在这个世界
我们共舞于未来的旋律
无尽的希望，穿透夜空的边界

Radiance, Searching for peace (寻求和平)

Ethereal ambient soundscapes inspired by Game of Thrones and The Lord of the Rings.

ETHEREAL - THE ENCHANTMENT

Lemme Stay Aroumd

Horreur OST 7

Family Tree

Scatterheart

All Bitches Die

For I Am The Light (And Mine Is The Only Way)

All Bitches Die (All Bitches Die Here)

Björk
Aurora
Royal Opera House
16 / 12 / 2001

Björk - Aurora (Royal Opera House)

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: https://bit.ly/2XtJGvQ

Phoenix: Flames Are Dew Upon My Skin

Eartheater - How To Fight (PAN 112)

After many years of creating music behind the scenes — ghostwriting and producing for others — I was encouraged to finally share my own voice. What you'll hear reflects my eclectic inspirations: from pop, dark ambient, classical, Chinese folk, shoegaze, Mandopop, R&B, EDM, hybrid trap, hip-hop, to ambient, new age, phonk, chillout and lounge. I’ve released several albums across these styles, each one shaped by an evolving emotional and cultural journey.

I collaborate with two extraordinary Chinese tenors, Tian Zhang and Liang Lin, whose voices bring a celestial depth to many of my tracks.

I was previously on SoundCloud but accidentally deleted my account — so here I am again, hoping my former listeners find their way back... and welcoming new ones into my sonic world.

Radiance, Searching for peace (寻求和平)

Sylvia Polaris Beijixing