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 (out now on PAN), 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 live harp arpeggios. 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. 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.