• Who Is Eartheater? The Avant-Garde Visionary Redefining Music. For almost a decade, the artist known as Eartheater has been reshaping music, blending genres, and reimagining pop music, blending elements of folk, noise, and electro. A dynamic force in modern experimental music, Eartheater embodies transformation, pushing the boundaries of sound and self-expression.

  • At the intersection of ethereal pop, cyber-electronic melodies, and dreamlike vocals, Eartheater—born Alexandra Drewchin—emerges as a unique composer, producer, multi-instrumentalist, and vocalist. With a sound as otherworldly as her image, it’s easy to imagine fairies dancing hand-in-hand to her music. Natural imagery is recurrent in her work; she often positions herself at the center of it. On the cover of her third album, Irisiri, her face is framed between the heads of two beautiful horses, while on "Phoenix: Flames Are Dew Upon My Skin", she appears as a supernatural creature with wings, embodying the essence of the phoenix.

  • Originally from Pennsylvania but now based in Queens, Eartheater wrote and produced her first three albums independently, describing them as “bedroom albums.” Her 2015 debut, Metalepsis, introduced themes of the universe, infinity, creation, and the internet. Between a world crafted by nature and another by human innovation, Eartheater’s music resides in the delicate balance, whispering in our ears. Her art reflects a continual process of transformation, with metamorphosis a recurring theme, echoed in songs like “Ecdysisyphus” from her second album, RIP Chrysalis, where we hear, “There’s a first time for everything, more like, everything is the first time... every morning my eyes pry this pod open, and rip this chrysalis.”

  • In 2019, her debut mixtape Trinity marked a shift in her music, diving deeper into hyperpop and technoid sounds, gaining her a new audience and band of collaborators. Like David Bowie with Ziggy Stardust, Eartheater—also known by her alter ego Trinity Vigorsky— defies predictability. Constantly moving, physically and musically, she recorded her last two albums wherever the wind took her. Phoenix: Flames Are Dew Upon My Skin, her 2020 album, was crafted during a 10-week residency in Zaragoza, Spain, marking her first true studio recording.

  • Who Is Eartheater? The Avant-Garde Visionary Redefining Music. For almost a decade, the artist known as Eartheater has been reshaping music, blending genres, and reimagining pop music, blending elements of folk, noise, and electro. A dynamic force in modern experimental music, Eartheater embodies transformation, pushing the boundaries of sound and self-expression.

  • At the intersection of ethereal pop, cyber-electronic melodies, and dreamlike vocals, Eartheater—born Alexandra Drewchin—emerges as a unique composer, producer, multi-instrumentalist, and vocalist. With a sound as otherworldly as her image, it’s easy to imagine fairies dancing hand-in-hand to her music. Natural imagery is recurrent in her work; she often positions herself at the center of it. On the cover of her third album, Irisiri, her face is framed between the heads of two beautiful horses, while on "Phoenix: Flames Are Dew Upon My Skin", she appears as a supernatural creature with wings, embodying the essence of the phoenix.

  • Originally from Pennsylvania but now based in Queens, Eartheater wrote and produced her first three albums independently, describing them as “bedroom albums.” Her 2015 debut, Metalepsis, introduced themes of the universe, infinity, creation, and the internet. Between a world crafted by nature and another by human innovation, Eartheater’s music resides in the delicate balance, whispering in our ears. Her art reflects a continual process of transformation, with metamorphosis a recurring theme, echoed in songs like “Ecdysisyphus” from her second album, RIP Chrysalis, where we hear, “There’s a first time for everything, more like, everything is the first time... every morning my eyes pry this pod open, and rip this chrysalis.”

  • In 2019, her debut mixtape Trinity marked a shift in her music, diving deeper into hyperpop and technoid sounds, gaining her a new audience and band of collaborators. Like David Bowie with Ziggy Stardust, Eartheater—also known by her alter ego Trinity Vigorsky— defies predictability. Constantly moving, physically and musically, she recorded her last two albums wherever the wind took her. Phoenix: Flames Are Dew Upon My Skin, her 2020 album, was crafted during a 10-week residency in Zaragoza, Spain, marking her first true studio recording.

  • I’ve been in the industry since 1990, of course you think about staying relevant, but not in the way you might think. Being relevant is timeless. Relevance is personal. It’s a state of mind, but it’s not determined by productivity. Amazing artists like Cher or Barbra Streisand, artists who don’t put out albums all the time, but when they decide to release something, it’s a reminder of their talent, impact, influence and relevance. Adapting ‘with the times’ would suggest that I am not living here, in the ‘now’. I am living. I am being. I think it is important to be who you are but as times change, you change too.

  • Powders deconstructs elements down to their essence, as if echoing Lavoisier’s principle that “nothing is lost, nothing is created; everything is transformed.” The album closes with “Salt of the Earth - H2ome,” a track recorded on her iPhone a decade ago with her family in Pennsylvania, blending her nomadic journey with a sense that she has returned to her roots – and leaving us wondering if she ever really left.

  • An alchemist, a fairy, a chameleon, an empress of change. An artist of many facets, Eartheater is equally at home strutting the Mugler runway as she is discussing cell division onstage with NYU computational biologist Dr. Elizabeth Hénaff. She seems capable of writing a thesis on biology as easily as she is mastering the art of pole dancing, mesmerizing audiences at every turn (and drawing admiration from unexpected fans). Eartheater is “all” and “one,” embodying timelessness and perhaps even the key to infinity.

  • Eartheater approaches music as one should seize life; the world belongs to those brave enough to start anew.

  • I’ve been in the industry since 1990, of course you think about staying relevant, but not in the way you might think. Being relevant is timeless. Relevance is personal. It’s a state of mind, but it’s not determined by productivity. Amazing artists like Cher or Barbra Streisand, artists who don’t put out albums all the time, but when they decide to release something, it’s a reminder of their talent, impact, influence and relevance. Adapting ‘with the times’ would suggest that I am not living here, in the ‘now’. I am living. I am being. I think it is important to be who you are but as times change, you change too.

  • Powders deconstructs elements down to their essence, as if echoing Lavoisier’s principle that “nothing is lost, nothing is created; everything is transformed.” The album closes with “Salt of the Earth - H2ome,” a track recorded on her iPhone a decade ago with her family in Pennsylvania, blending her nomadic journey with a sense that she has returned to her roots – and leaving us wondering if she ever really left.

  • An alchemist, a fairy, a chameleon, an empress of change. An artist of many facets, Eartheater is equally at home strutting the Mugler runway as she is discussing cell division onstage with NYU computational biologist Dr. Elizabeth Hénaff. She seems capable of writing a thesis on biology as easily as she is mastering the art of pole dancing, mesmerizing audiences at every turn (and drawing admiration from unexpected fans). Eartheater is “all” and “one,” embodying timelessness and perhaps even the key to infinity.

  • Eartheater approaches music as one should seize life; the world belongs to those brave enough to start anew.