Eartheater’s seventh album, Heavenly Body: If I’m the Bottle You’re the Message, is as personal

as it is universal. Exploring the pregnant body as a vessel for something greater than itself, it’s

an intimate look at what it means to carry another human, how that transforms your body and

your life, and what it is to be a parent. It’s a record of birth plans and playlists, peeing in cups,

and pregnancy sex. While it’s the singular experience of one woman, the versatile composer,

singer, producer, and multi-instrumentalist, Alexandra Drewchin, they’re also feelings other

people have experienced, in other ways, without having to be a parent—which adds to the

collection’s power. Drewchin started on it a little over three months after she gave birth to her

10-month old daughter, Nova.

“It’s very much born from the throws and blisses of becoming a

mother,

” she says.

“Some music can wait to come out and it will make sense whenever it does.

This music had to come out immediately.

” When you move quickly, you have less time to

second-guess yourself and the 11 resulting songs are some of Eartheater’s catchiest and most

immediate. As complex as they are, they feel effortless.

A mix of dance lullabies, exhilarating post-wave bangers, prismatic anthems, and

stadium-stretching art-pop, Heavenly Body offers a new chapter in Drewchin’s already deep

discography. She’s never been afraid to explore different approaches. In October 2025, she

celebrated the 10 year anniversary of her first two albums, Metalepsis and RIP Chrysalis,

classics in experimental electronic music. She’s collaborated with a variety of artists including

FKA twigs (she contributed the top-line melody, guitar, and production to the lead single for the

Grammy-winning album Eusexua), chamber ensemble Alarm Will Sound, Irish-Chilean

electronic producer Sega Bodega, and British singer, DJ, and rapper shygirl. Comfortable on

large stages, in punk houses, and in museums, she also understands the runway: Chanel’s

featured her music three times in their shows as well as Dior, Proenza Scholar, and Mugler.

For the first time in her career, she worked largely with only one co-producer on the album,

David Sitek. Outside of the closer,

“Nova,

” the music came together in a particularly efficient

way: Sitek made himself “always available,

” sending an instrumental almost daily, which

resulted in a folder of 50 soundscapes Drewchin could dip into as she shaped the album.

“I went

for a walk through it and plucked a bouquet of instrumentals,

” she said. She’d sculpt each, then

headed to Sitek’s house in L.A. everyday for a week here/there to piece it together, which

offered a way to make the process feel relaxed in spite of her tight new schedule as a mom.

Heavenly Body can refer to heavenly bodies, stars, and the human body, but another reason

Drewchin chose the word “heavenly” is because of the “heave” in it: ”To heave is to lift

something heavy, or push or pull something rhythmically, or to vomit,

” she explains.

“And it’s

laced in the word ‘heavenly’ the way that effort’s laced into the joy of parenting.

” Fittingly,

Drewchin presents the less glamorous, repetitious moments of pregnancy and motherhood, too,

and how a pregnant body shifts so much of how you move through the world. Songs balance

competing, hard-to-express emotions. On “Practical Amnesia,

” she explores the biological fact

that as painful as the act of birth is, it’s forgotten afterwards. She sees the c-section scar, photos

of her cleaning her wounds, but doesn’t recognize herself in the photos. On “Favorite,

” Drewchin

offers sharply-drawn humor, the half-exhausted laughs of parenting a newborn: “This service is

worth an arm and a leg/ I’m waiting on your hand and foot.

” There’s truth to it, including just howmuch you love these taskmasters: “I live for the masochism of motherhood/ This is love.

” That

love is the focus.

“Fast Asleep,

” featuring French singer Oklou, who had a baby the day before

Eartheater, finds the two mothers singing in perfect two-part harmony, wondering what their

babies could be dreaming about. In the song, they evoke a number of iconic people and objects

known for their speed (Sha’Carri Richardson, a Koenigsegg jesko, the race horse Secretariat) in

the hopes that the babies fall asleep fast while simultaneously hoping time might speed to that

blissful moment when their babies are awake again. Drewchin’s husband is invoked across the

album, too, most lovingly in the aptly titled “Paradise Rains.

” The song’s about how he and

Drewchin bought back her childhood home after she was estranged from it for 20 years. They

conceived Nova there the same day she got it back. It’s also where Drewchin’s mother gave

birth to her and where she wrote the songs for Heavenly Body.

“Nova,

” the one song she wrote when she was pregnant and the one she didn’t co-produce with

Sitek, was produced with Nosaj Thing and Michael Andrews (Donnie Darko). The track features

Shahzad Ismaily on bass with piano by Casey MQ. It feels like a bridge to another space, a

reminder that this album is the start of a new life and a new role. Drewchin breaks down the

core of Heavenly Body on it, too: “A new perspective/ Through your eyes/ If I’m the bottle/

You’re the message/ A new kind of love/ Nova.

” It’s a love song, and really, all the songs on

Heavenly Body are love songs— songs about discovering an immutable love and how it

transforms anyone who’s experienced it.