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IRISIRI

by Eartheater

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Mary Revery
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Mary Revery Eartheater's 4th world performance was the highlight of my 2018. Favorite track: Inclined.
Stéfan Németh
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Stéfan Németh Drewchin once again crafts something at once unrestrained and demure. Eartheater feels and sounds like a self-portrait against the digitalization of the Earth, a man-machine fusion that still leaves the question unresolved, as stated firmly ‘You can’t compute her’ in the closing track OS In Vitro. Simultaneously uncompromising yet bashful, obscene yet graceful, IRISIRI has come to carve its seminal niche within the avant-garde and experimental community, one that embraces lyricism, folk and electronics in its own ideosyncratic way. Favorite track: Trespasses.
Cha Blasco
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Cha Blasco Really great album, this record is strongly creative as powerful in its form. Favorite track: Peripheral.
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about

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. 

credits

released June 8, 2018

The release is mastered by Rashad Becker at D&M, featuring photography by Elise Gallant.
Contributing production on 'Inkling' and 'Not Worried' by Ghostdrank

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about

Eartheater Queens, New York

Under the pseudonym 'Eartheater', Alexandra Drewchin is a multi-instrumentalist and vocalist based in Queens New York. Contextually exploring incendiary subjects like alternate realities strung in the vastness of infinity, the isometrisity of time and space, the ambiguity of words, moral surreality, the evolution of sexuality in a digital age, and the nature of the mother board. ... more

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