http://snip.ftpromo.net/eatingsnowitunesdeluxe

From a festival to a feature to friendship, from techno to electronica to a band. In this manner towards twitter compatibility, one may describe Eating Snow’s previous path, which has really just begun for Douglas Greed and Mooryc, with only few characters. The two of them met in 2010 at a festival in Poland, only shortly afterwards the joint tracks „Pain“ and „Morning Gloria“ developed, which can be listened to on Douglas Greed’s debut album „KRL“. However, „Dougi“ and Mooryc weren’t just in tune with each other quickly, they also automatically arrived at a common sound despite their different musical roots, which ranges from sensual indietronica to powerful house right up to perfectly grooving pop moments.

The full range of this sound is spread over thirteen tracks on their same-titled debut album „Eating Snow“, which was developed in Poznan, Wustrow, Jena and of course Berlin where not only Mooryc has been living for a couple of years, but also Douglas Greed spent some time at in the summer of 2014. A major part of it the two of them spent together in the studio, drinking lukewarm beer, laughing their heads off at the biggest nonsense and having fun as
mates around the clock. Furthermore, they felt their common passion for the darker moments/elements of pop music and bound electronic beats as well as melodies and lyrics together to a magical ensemble in which the unique voice of Mooryc comes upon the as melancholic as euphoric musical bent of Douglas Greed – and thereby swears off the dancefloor specification entirely.

The album begins with a prelude of the sensually-meandering “Over“, which gets the listener in the mood for the impending musical trip for two minutes and is itself a part of it. Subsequently, “The Cut“ attracts wide appeal with a heartthrob beat and hypnotic-oscillating synthesizers, smooth piano modulations and Mooryc’s bittersweet vocals. “Let You Down“ has its depth in pop while subsequently “Mine“ bridges to much calmer notes. Also the
narrowed “Beauty Of Destrucion“ shows that there is still some truth to the saying: “Less is more“, before “Gravel And Trees“ increases the beats per minute and “Forever Is Gone By Now“ breaks the beat sensitively and finds its way into yearning. Afterwards, “This Emptyness Is Mine“ plays it mysteriously, before “Chameleon“ follows instrumental paths again, thereby opening up broad spaces and making room for a fantastic melody and the sound of playing children. Deeply personal right until the end is the dreamy “Last Summer Day“ that initiates the narrowed acoustic end of the album and is reminiscent of the past journey together. However, the before released “Siamese Twins By Choice“ completes the very same thing in a new version. 

And to round it all up they joined forces with the street art duo HERAKUT, which fit perfectly and give the project its fragile faces.

Let You Down

Check it.there was a time i as 14 years old boy got his hand of 4000 lsd 25 black star dots. I licked acid in one year ecept when me my father sailed the sea!remember the metalic taste of that acid yet today🚩so dont try it 🚩its wierd im as healthy mental health i proper can have in my opinion 🍌
So by the way this music i stamp 🚴🏽‍♂️Acid TESTED🚴🏽‍♂️albert the lonlycrew member.25and floating’

Not your run-of-the-mill working-class Eastern European non-binary DJ. The producer, vocalist, but also visual and digital artist strives for innovative sound design and visceral body response, despite (or maybe coupled with) raw emotion that permeates their musical output. They’re a proud member of the Ciężki Brokat crew (with whom they run the annual Warsaw Pride official afterparty), co-creator of Radio Kapitał, Polish ambassador for Keychange and SHAPE Platform 2021 resident.

Their own music has morphed several times throughout the last 15 years – from industrial or purely synthetic timbres, through polyphonic singing with Pleśni to a perplexing fusion of rhythmically and sonically jagged compositions, bass-heavy club tracks on their EPs, 'Gusła (Human Rites)' on Tańce, a limited vinyl release on London-based 51-53 Records, 'Doolska' and the latest, more experimental 'Lamenty' EP.

They presented their music during numerous festivals (Unsound, CTM, Schiev, Up To Date, Tauron Nowa Muzyka, Les Siestes Electroniques, Audioriver) and an assortment of clubs (including the legendary Berghain) in Poland and abroad (Berlin, London, Prague, Oslo, Copenhagen, Ljubljana). They remixed tracks by Kamp and Baasch, recorded mixes for Resident Advisor, DJ Mag, HӦR and CRACK, composed and created impromptu live music for interactive theatre plays: Method of National Constellations, quadraphonic sound for Jawić się, music for a Women’s Strike street theatre Manifesta and original score for Ideologix, a US-written and directed queer opera.

In the club their seventeen-year experience of supporting queer, anti-fascist and underground scenes results in an almost annoyingly disparate selection of the most forward-thinking sound offered by today’s scene. In their series of DJ-sets and club nights they blend unusual rhythmic patterns kicked up a notch with their improvised vocals.