The noise artist turned DIY pop radical shares some thoughts on obsession, imperfection and distrusting culture.
The wildly, diverse sounds made by Eartheater, AKA Alexandra Drewchin, defy most traditional definitions of music. Folding in bits of hip-hop, noise, spoken word, krautrock, pop and more, her music avoids genre. Her improvisational live performances, which often feature her contorting and writhing on stage, further attest to her eccentric dynamism. She was raised on a rural farm in New York in a strict Eastern Orthodox Christian sect. Taking to music at a young age, it wasn’t until her late teens that she indulged her more adventurous creative impulses, and her discovery of noise and experimental music served as a major inspiration. After time spent in the avant-garde outfit Guardian Alien, Drewchin has focused on shaping her personal vision as Eartheater — her debut LP, Metalepsis, was followed just a few months later with another album, RIP Chrysalis, both of which showed her embrace of conventional folk elements and the digital discord of the modern world. On her latest record IRISIRI, released on PAN, the restless experimenter does away with her guitar, opting instead to build layers of digital and organic sounds for a raw surreality that continues to defy labels. In this Fireside Chat, Drewchin ruminates on the power of obsession and leaving her imperfections on tape.