Posts Tagged Eartheater

AdHoc Issue 20 is Here

AdHoc Issue 20 is Here Cover by Chris Stewart

AdHoc Issue 20 is here! Download a PDF of the zine at this link, and look out for physical copies both at our shows and at record stores, bookstores, coffee shops, and community centers throughout the city. If you happen to live outside of New York, you may order a copy as well.

In AdHoc Issue 20, we get to know three musicians who go out of their way to build community whenever they’re not making great music. Bryan Funck, who tours constantly as the vocalist of Louisiana metal band Thou, runs the website NOLA DIY, which collects information on local shows, bands, venues, and promoters, along with resources for bands just starting out. Moor Mother and Eartheater, in conversation, explain the importance of creating music in the face of systemic obstacles like class inequality and gender-based discrimination—and helping others do the same through collaboration and education. Which is to say, for each of these three, being a musician is certainly about releasing plenty of forward-thinking music—but it’s also about using that platform to help others have their voices heard.

AdHoc Issue 20's contributors:

Alexandra Drewchin is a Queens-based musician who records under the Eartheater name. She conversed with Camae Ayewa of Moor Mother for this issue.

Chris Stewart makes and performs synthy anthems under the moniker Black Marble. He composed and shot the cover for this issue.

Samuel Nigrosh is a Chicago-based illustrator who publishes books and comix under the name Trash City. He made the illustrations for this issue.

Eartheater Shares New Track, Announces Second Hausu Mountain Release of 2015

Eartheater Shares New Track, Announces Second Hausu Mountain Release of 2015

The subtle beginning of "Wetware," the new track from Alexandra Drewchin's Eartheater project, creeps along like unfurling vines. Thoughtfully arpeggiated guitar chords sit over subtle beats while Drewchin's versatile voice twists overhead. It is reminiscent of Kria Brekken's work post-Múm but, rather than Brekken's precious iciness, Drewchin breathes a dark lysurgic creepiness. All of her work holds this theme of patient anticipation, a certain centered calmness that is infectious and welcoming. The song is an echo reflection of previous full length Metalepsis, from earlier this year. But where that record felt like a jungle of glazed white plastic trees, this feels like swimming in a creek beneath digitized moonlight.

"Wetware" comes in advance of RIP Chrysalis, out October 20 on Hausu Mountain.