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.
The Los Angeles-based electronic music producer turns to the Middle Eastern and Indian pop of their youth, alongside house, disco, and R&B, and transforms it into four-on-the-floor dance anthems. Bandcamp Album of the Day Feb 12, 2021