Eartheater
IRISIRI
Boomkat Product Review:
PAN’s butterfly net captures IRISIRI, the 3rd solo album by Alex Drewchin a.k.a. Eartheater, who provides the label’s first release of 2018, and one of its most sublime since Yves Tumor’s Serpent Music or the Mono No Aware set. Alexa’s first two Eartheater albums were released at either end of 2015 to critical acclaim - Metalepsis was Fact Mag’s album of the year, and RIP Chrysalis in its top 10 - and this follow-up is a majestic effort balancing a romantic, gothic sense of introspection with wide angled cosmic scope and intuition.
Where the first two Eartheater albums formed a tempered concision of her psychedelic improvisations as frontwoman of the Guardian Alien ensemble, IRISIRI offers a more shattered looking glass perspective on Alexa Drewchin’s personal sound, each track resolving richly colourful mosaics of strings, synths and electronics riddled with trance motifs and her own three octave-range voice, itself an instrument of myriad potential, morphing from xanny mumble to angelic ambient pop tropes and keening wails.
IRISIRI stealthily casts its spell in 13 succinct sections, seamlessly flowing in a deceptively freehanded style from the harp strokes and bubbling bong of Peripheral thru something like blunted rap on Inclined, then making canny use of a Robert Miles sample in the K-holed maze of MTTM, and meshing Harthouse pulses with harps in Curtains, before going full blown Clannad in Trespasses, and tagging in Moor Mother for the fractious MMXXX, and pulling out with the teeny American angst of C.L.I.T., and a computerised meditation on OS In Vitro.
The overall effect of IRISIRI is seductive and layered with enough detail to keep us heading back for further investigation.
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Boomkat Product Review:
PAN’s butterfly net captures IRISIRI, the 3rd solo album by Alex Drewchin a.k.a. Eartheater, who provides the label’s first release of 2018, and one of its most sublime since Yves Tumor’s Serpent Music or the Mono No Aware set. Alexa’s first two Eartheater albums were released at either end of 2015 to critical acclaim - Metalepsis was Fact Mag’s album of the year, and RIP Chrysalis in its top 10 - and this follow-up is a majestic effort balancing a romantic, gothic sense of introspection with wide angled cosmic scope and intuition.
Where the first two Eartheater albums formed a tempered concision of her psychedelic improvisations as frontwoman of the Guardian Alien ensemble, IRISIRI offers a more shattered looking glass perspective on Alexa Drewchin’s personal sound, each track resolving richly colourful mosaics of strings, synths and electronics riddled with trance motifs and her own three octave-range voice, itself an instrument of myriad potential, morphing from xanny mumble to angelic ambient pop tropes and keening wails.
IRISIRI stealthily casts its spell in 13 succinct sections, seamlessly flowing in a deceptively freehanded style from the harp strokes and bubbling bong of Peripheral thru something like blunted rap on Inclined, then making canny use of a Robert Miles sample in the K-holed maze of MTTM, and meshing Harthouse pulses with harps in Curtains, before going full blown Clannad in Trespasses, and tagging in Moor Mother for the fractious MMXXX, and pulling out with the teeny American angst of C.L.I.T., and a computerised meditation on OS In Vitro.
The overall effect of IRISIRI is seductive and layered with enough detail to keep us heading back for further investigation.
Boomkat Product Review:
PAN’s butterfly net captures IRISIRI, the 3rd solo album by Alex Drewchin a.k.a. Eartheater, who provides the label’s first release of 2018, and one of its most sublime since Yves Tumor’s Serpent Music or the Mono No Aware set. Alexa’s first two Eartheater albums were released at either end of 2015 to critical acclaim - Metalepsis was Fact Mag’s album of the year, and RIP Chrysalis in its top 10 - and this follow-up is a majestic effort balancing a romantic, gothic sense of introspection with wide angled cosmic scope and intuition.
Where the first two Eartheater albums formed a tempered concision of her psychedelic improvisations as frontwoman of the Guardian Alien ensemble, IRISIRI offers a more shattered looking glass perspective on Alexa Drewchin’s personal sound, each track resolving richly colourful mosaics of strings, synths and electronics riddled with trance motifs and her own three octave-range voice, itself an instrument of myriad potential, morphing from xanny mumble to angelic ambient pop tropes and keening wails.
IRISIRI stealthily casts its spell in 13 succinct sections, seamlessly flowing in a deceptively freehanded style from the harp strokes and bubbling bong of Peripheral thru something like blunted rap on Inclined, then making canny use of a Robert Miles sample in the K-holed maze of MTTM, and meshing Harthouse pulses with harps in Curtains, before going full blown Clannad in Trespasses, and tagging in Moor Mother for the fractious MMXXX, and pulling out with the teeny American angst of C.L.I.T., and a computerised meditation on OS In Vitro.
The overall effect of IRISIRI is seductive and layered with enough detail to keep us heading back for further investigation.
Boomkat Product Review:
PAN’s butterfly net captures IRISIRI, the 3rd solo album by Alex Drewchin a.k.a. Eartheater, who provides the label’s first release of 2018, and one of its most sublime since Yves Tumor’s Serpent Music or the Mono No Aware set. Alexa’s first two Eartheater albums were released at either end of 2015 to critical acclaim - Metalepsis was Fact Mag’s album of the year, and RIP Chrysalis in its top 10 - and this follow-up is a majestic effort balancing a romantic, gothic sense of introspection with wide angled cosmic scope and intuition.
Where the first two Eartheater albums formed a tempered concision of her psychedelic improvisations as frontwoman of the Guardian Alien ensemble, IRISIRI offers a more shattered looking glass perspective on Alexa Drewchin’s personal sound, each track resolving richly colourful mosaics of strings, synths and electronics riddled with trance motifs and her own three octave-range voice, itself an instrument of myriad potential, morphing from xanny mumble to angelic ambient pop tropes and keening wails.
IRISIRI stealthily casts its spell in 13 succinct sections, seamlessly flowing in a deceptively freehanded style from the harp strokes and bubbling bong of Peripheral thru something like blunted rap on Inclined, then making canny use of a Robert Miles sample in the K-holed maze of MTTM, and meshing Harthouse pulses with harps in Curtains, before going full blown Clannad in Trespasses, and tagging in Moor Mother for the fractious MMXXX, and pulling out with the teeny American angst of C.L.I.T., and a computerised meditation on OS In Vitro.
The overall effect of IRISIRI is seductive and layered with enough detail to keep us heading back for further investigation.
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Boomkat Product Review:
PAN’s butterfly net captures IRISIRI, the 3rd solo album by Alex Drewchin a.k.a. Eartheater, who provides the label’s first release of 2018, and one of its most sublime since Yves Tumor’s Serpent Music or the Mono No Aware set. Alexa’s first two Eartheater albums were released at either end of 2015 to critical acclaim - Metalepsis was Fact Mag’s album of the year, and RIP Chrysalis in its top 10 - and this follow-up is a majestic effort balancing a romantic, gothic sense of introspection with wide angled cosmic scope and intuition.
Where the first two Eartheater albums formed a tempered concision of her psychedelic improvisations as frontwoman of the Guardian Alien ensemble, IRISIRI offers a more shattered looking glass perspective on Alexa Drewchin’s personal sound, each track resolving richly colourful mosaics of strings, synths and electronics riddled with trance motifs and her own three octave-range voice, itself an instrument of myriad potential, morphing from xanny mumble to angelic ambient pop tropes and keening wails.
IRISIRI stealthily casts its spell in 13 succinct sections, seamlessly flowing in a deceptively freehanded style from the harp strokes and bubbling bong of Peripheral thru something like blunted rap on Inclined, then making canny use of a Robert Miles sample in the K-holed maze of MTTM, and meshing Harthouse pulses with harps in Curtains, before going full blown Clannad in Trespasses, and tagging in Moor Mother for the fractious MMXXX, and pulling out with the teeny American angst of C.L.I.T., and a computerised meditation on OS In Vitro.
The overall effect of IRISIRI is seductive and layered with enough detail to keep us heading back for further investigation.
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