Digital single and Metalepsis (10th Anniversary Edition) released on October 20th, 2025. To purchase, head to our Bandcamp page.
When Alexandra Drewchin started her project Eartheater in 2015, she had already spent years exploring the US underground as a member of experimental projects centered around New York City’s foward-thinking music scene, but the world had no idea of what she was capable of as a solo artist. By the year’s end, after the release of her debut album Metalepsis (HAUSMO25) in February and its immediate follow-up RIP Chrysalis (HAUSMO38) in October, anyone who had encountered Eartheater’s music bore witness to the clarity of her artistic vision and the power of her voice, along with the rich palette of self-produced sounds with which she surrounded it. Hausu Mountain proudly celebrates the tenth anniversary of Metalepsis and RIP Chrysalis, which established an early body of work that still proves revelatory as a showcase of Drewchin’s boundless inventiveness as a singer, songwriter, and producer, all the more illuminated by the far-reaching music that has filled the rest of her catalog to date. The addition of the new single “8,” a complete reworking recorded in 2025 of Eartheater‘s song “Infinity,” joins the 10th anniversary edition of Metalepsis to further the conversation between Drewchin’s earliest work and her contemporary musical practice.
Though at first glance the music Eartheater went on to release on PAN Records and her own imprint Chemical X pushed her sound into more overtly electronic-driven territories animated by modern sound design (as on 2018’s IRISIRI and 2022’s Trinity) or dynamic arrangements for orchestral and acoustic instruments (as on 2020’s Phoenix: Flames Are Dew Upon My Skin and 2023’s Powders), in truth these elements of her subsequent work are all present in Metalepsis and RIP Chrysalis in embryonic forms. Though the albums foreground Drewchin’s voice and her guitar performances to present her songwriting in the idiom of stripped-down bedroom pop, her instincts as an electronic producer and an arranger of disparate sounds elevate her music to the level of the auteur in full command of her complex compositions. Alongside the moments in which she zooms straight into the details of her cascading vocal lines and delicate fingerpicked guitar progressions, we get passages of electro-acoustic collage that diverge from traditional song formats into the realm of free-form abstraction: fragmentary samples that scroll by like a radio dial spinning through stations; bursts of corrupted glitch synth planted alongside violins and 808 kicks; extended expanses of drone that dispense with harmony in favor of pure texture. For as much variation as Eartheater’s production offers on Metalepsis and RIP Chrysalis, the constant evolution of her vocal melodies remains at the core of her project. She winds her way through a labyrinth of tumbling melodic figures that range from tongue-twisting mid-range cadences to bursts of color in the highest of falsettos. She tries on hard-effected belting closer to 90s alternative rock, layered wordless coos and chirping vocalizations, and pensive spoken-word whispers. Her lyrics toy with themes of humanity’s increasing integration with technology, with our tiny role and self-perception in a vast universe, with the joys and dissociations inherent to sex and subsistence, and with the boundaries between the imagined dreamworld and the (u)(dys)topia expanding before us.
To celebrate the tenth anniversary of Metalepsis and RIP Chrysalis, Eartheater presents a newly recorded version of her song “Infinity” – the track that lit the spark for the project back in its infancy. Retitled “8,” turning the infinity symbol on its side, the 2025 incarnation of “Infinity” trades the original’s intimate production for a widescreen sound closer to contemporary pop or rock music, with layered guitar lines and kinetic drum loops supporting a new vocal performance from Eartheater. By slightly modifying the melody and lyrics of the original song in its new iteration, she presents her bespoke musical practice as a body of work that can be reshaped and reimagined – channeling ten years of experience as an internationally acclaimed artist into a new permutation that exhales a fresh breath into her decade-old composition. Eartheater recounts that this new version of “Infinity” captures her initial impulses for the song that were never fulfilled, due to her self-recording practice that could not quite manifest her ideas in the way that she had envisioned. “This is how I always imagined it would sound,” she says. With production co-handled by Alexander Bazzi (known as a collaborator of Yves Tumor) that frontloads the newly recorded rock instrumentation with its dual-guitar workouts and walloping central drum loop, we hear “Infinity” through new ears. The song’s reborn form continues a conversation that Eartheater began with herself with its initial version on Metalepsis and the re-composed remix of the song entitled “If it in yin” that appears on RIP Chrysalis. If you listen closely, you can hear the outro passage of the original “Infinity” reversed and reincarnated as the introduction of its new rendition in “8” – a gesture that keeps the conversation going between the decade-displaced eras of Eartheater‘s unfolding musical catalog.
2015 Artist Photos:
^^ photo by Monica Mirabile
^^ photo by Elise Gallant
^^ photo by Cheryl Georgette
^^ photo credit lost to time
^^ photo by Cheryl Georgette
2015 Press Clippings:
Fact Magazine – The 50 Best Albums of 2015:
Fact Magazine – The 20 Best Bandcamp Releases of 2015:
Tiny Mix Tapes – 50 Favorite Albums of 2015:
Pitchfork – Metalepsis review:
Pitchfork – RIP Chrysalis review:
Spin – Interview Feature:
Fact Magazine – Interview Feature:
–
–
–