Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements, cresting to operatic highs, settling into melancholic murmurs, or tumbling in animated cadences down the scale. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments reject rote historical associations.