On her way to Australia, the genre-defying Alexandra Drewchin takes a moment out of her head-spinning schedule.
With a stage name like Eartheater, it is no surprise that Alexandra Drewchin’s work feels voracious and all-consuming. She has the presence of an Amazon, has walked the runway for major fashion houses, and helped launch the musical career of Madonna’s daughter, Lourdes Leon., Drewchin moves from billowing strings to soft beats and back again. When you think you have a handle on what is happening, a stripped-back cover of System of a Down’spops up to shake you up again.
“I feel like I’ve done it; unless there’s something incredible that pulls me back, I don’t really care right now,” she says, taking a sip of the orange wine she was delighted to find on the menu. As Eartheater, Drewchin is best known for her multi-layered tracks and intricate lyricism. Whispers and strings, soft synths and sparkling plucked melodies. Confident beats. Though complex, Eartheater manages to make music that sounds as if you are looking at a swimmer treading water in a placid lake, the surface smooth and glassy, but the eggbeater legs churning everything underneath.“I feel deeply fulfilled at this point in my life and I haven’t felt that until now,” she says.
“Chemistry, fun, intimacy, friends,” she says, the words punctuated with little taps on the table. “ became, and it still is, the most successful piece of work I’ve ever made, so it’s just a blaring reminder, every day, that all the sort of thrills and fluff and two-stepping that one does to release an album, or make something pop, isn’t actually necessary. When the world needs something, and you have it, and you can give it … it just happens, and it takes on a life of its own.
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