Like on “Youniverse,” a standout track from her debut album Metalepsis–which received a ten-year-anniversary re-release at the end of 2025–Eartheater has always created worlds per album. Perhaps inspired by her upbringing by European parents, as Alexandra Drewchin, or her own set of muses, each project by this artist is captivating through real, worldly sampling. Drewchin’s newest release, Heavenly Body: If I’m The Bottle You’re The Message is no exception, as it spouts diaristic themes of childbirth, which is also the inspiration for its title. Eartheater’s impeccable visual direction has lent itself to an unbelievably cohesive discography of work that shines as a singular beacon for its audio highlights plus past standout remixes like those on her album Trinity’s deluxe version.
“Malka Moma” is sung in Bulgarian, a linguistic phenomena with a choral suite. The vocal runs allude to nineties music done by This Mortal Coil, and the classical pop format is reminiscent of Rosalía’s most recent Lux. The introduction to divine intervention begins with trilling pronunciation and strings whose melody is followed along to by her voice. Shimmering percussive ornaments that give a jungle biome flare have the chatterings of a jurassic jaw. Emotional for a non-native speaker of the language performed, even sans translation, the high pitch synths are bedazzling and are eventful in warp speed.
“Paradise Rains” has a high-contrast, greyscale music video featuring a homestead entry with acapellas fit for an alternative cathedral sonically. The violin opening is Björklike with gothic, layered belts akin to Florence and the Machine. The visuals featuring curious farmlife give a princess feeling to sweetly flute-scored declarations of love, “Heaven pours upon this family… A Cupid’s kiss upon this house.”
The third track, “Practical Amnesia” is as if Ethel Cain approached trip-hop with a quick-witted lyricism, painting a poetic still life. “Crown Jewel,” another single with a music video, is bass heavy like a fashionista anthem. Idolizing the twice-referenced-by-Beyoncé-in-one-song Grace Jones, there is a beautiful, conceptual approach to a homecoming message for a newborn. The story equates lab-grown ideology with simple descriptions of flora, including samples from track one that bridge the work together holistically.
“Wasp In The Fig” begets an analogy both fascinating and trendy, which attracted me from the track list before hearing it. There is a slowed and pitched down interlude approach to this full length moment of self discovery. Perhaps my personal favorite, “Glowing Guts” is the most upbeat and happening piece thus far at just over halfway through. Modern and completely unique words are attached to the marching-band-paced backing track, calling out Chief Keef as the best fit for music during labor; it ditches Caroline Polachek stylized performance for something more exuberant.
“Hers Before Hers” also brings Björk to mind, following the Icelandic talent’s inclusion of “Ancestress” on her last release, but overall the woodland bliss while spiraling through ancestral ties is still one of a kind. Gorgeous, cymbal pulsation and familial statements leading into further elemental metaphors shower the listener with ephemeral thoughts. “It’s a girl… Make a wish on my lucky star,” is chanted as hallucinatory realizations compile. “Don’t Look Back” has processed singing filtered for the radio. Mature pondering over staccato strings works, nestling into an eighties score. “Favorite” turns out to be another of mine ubiquitously. The noir is quickly made euphoric with all genre markers of the album building up to let a soft spoken chorus be made memorable by rustling, chimelike ASMR or the intentionally constructed beat’s syncopation. The glitch outro is more emotional than robotic in the way that Charli xcx’s “Track 10” established itself as a magnum opus.
“Fast Asleep,” the Oklou collaboration, has a fitting name, as it is a both soothing and charming lullaby with maternal quaintness. “Nova,” the closing track and first single from a summer prior, has beautifully kept me waiting for the final product. “Now here you are a ball of fire, Born out of another, Switch the ‘n’ with an ‘m,’ It’s what you make me.” This clever lyric in particular showcases Eartheater’s pithy wisdom, almost funny and totally hers; the letters replacing consonants in the titular word ‘nova’ if unclear.
Co-produced alongside David Sitek (Yeah Yeah Yeahs, Scarlett Johansson, Kelis) and Nosaj Thing (Kid Cudi, serpentwithfeet, Kendrick Lamar), HBIITBYTM is a monumental symbol for Eartheater’s ‘youniverse,’ something like a fresh coat of paint for the Arc de Triomphe. Motherhood has already cast a sentimental impression on the gothic kiln she tends to craft from. Outside of her own personal songwriting/production, fans can hear more unique Heavenly Body esque twinges on FKA twigs’ expert album Eusexua across multiple tracks that Eartheater contributed to. Drewchin has an upcoming set of shows in Los Angeles and New York City, as well as two currently slotted abroad, but hopefully more to be announced stateside soon.
Heavenly Body: If I’m The Bottle You’re The Message by Eartheater is out now.
0 comments on “Eartheater’s ‘Heavenly Body’ of Work Is Both The Bottle And The Message”