Boomkat Product Review:
Eartheater morphs into a dream-pop-trap siren for the times with ‘Trinity’, her new mixtape and self-released debut via Chemical X, arriving in hot and bass-driven pursuit of 2018’s cultishly acclaimed ‘IRISIRI’ LP for PAN
Fielding production by a gang of US producers and experimenters, ‘Trinity’ makes a distinct break with Eartheater’s previous albums. Her vocals are more prominent, layered in effusive clouds of reverb to conjure a choral ecstasy that harks back to original dream-pop and shoegazers in a more poignant way than the half-arsed way of too many cloud-rappers with a tear tattoo and low-key opioid problem.
Eartheater floats like a spectre in stripped-down, bass-sunk and reverberant dimensions that connote a zero-G feel to our ears; all ravishing swoon and spine-trilling trap patterns that relay her rapture in the lushest terms. Landing in 2019, it’s not hard to hear this sound as an echo of the Witch-house scene that emerged around Tri Angle a decade ago, and it’s perhaps fairly symptomatic of modern music’s ever-tightening feedback loops of influence.
The lion’s share of the production is handled by AceMo, who’s responsible for the air-stepping peak of ‘High Tide’, as well as highlights in the gushing dream-sequence ’Supersoaker’ and the hyperreal sensuality of ‘Pearl Diver’, while producer Kwesi Darko lends a strong but reserved touch to ‘Spill The Milk’, but Eartheater’s vocals arguably sound best in the haunting plainchant of ‘Lick My Tears’, produced by Tony Seltzer (Princess Nokia, Ski Mask The Slump God), and the final sublimation of ‘Solid Liquid Gas’, where she spirals to a head -s[pining delirium in a trance arp vortex produced by Hara Kiri.