Mooryc was born Maurycy Zimmermann on 12th March, 1981, in Poznań. A producer and multi-instrumentalist, he lives and works in Berlin. He records his own music and has released several EPs for German and Italian labels. His 2013 album Roofs created a stir. He has also authored music for films, commercials, theatre and the an_Arche contemporary music orchestra.
Mooryc has also collaborated with Krzysztof Dys and the duo SZA / ZA (Paweł Szamburski and Patryk Zakrocki), and remixed songs for Saurone, Marek Hemmann, Rangleklods and Rebeka. He sometimes sings, as in the song from the still unreleased album Eating Snow with the German producer and DJ Douglas Greed. Siamese Twins By Choice was launched in April 2013, but the joint album of Mooryc and Greed – originally planned for mid-2014 – is yet to appear.
The long work on Eating Snow (and not only) shows that, like Hatti Vatti, Mooryc belongs to those producers who accept nothing less than perfection in the studio. His music shines with excellent arrangements, which reveal the artist’s talent as a composer, but it may seem cool. Quieter and ambient in the past, it has recently ventured into the domain of club, or even house rhythms. Mooryc’s concerts and remixes show a great dance potential. The result of the collaboration with Douglas Greed – the EP Spark / Noisy (February 2015) signed with the pseudonyms of the two artists instead of the album name Eating Snow – also seems to go in this direction. The duet is perhaps the most important of Mooryc’s projects.
Polish jazz musicians, especially the bassist Ksawery Wójciński and the clarinettist Wacław Zimpel from Hera, have had an equally important influence on his artistic development. They formed an improvisation trio, which performed at the Malta festival, among others. The three artists even recorded a concert album.
Both albums recorded with other artists were preceded by the EP Take’em All (March 2015) distributed only electronically. The perfectionist Mooryc made a variety of experiments: from melodically intertwining rhythms (Be My Ghost), through the electronic ballad a la Radiohead (Myself) with distorted vocal track and piano, to the kind of unusual cool hip-hop with no vocals represented by Turn It Off. The title ballad is a completely separate phenomenon: touching, even slightly exaggerated.
What is behind this diversity? Among his sources of inspiration the artist lists Bach, Part, Mykietyn, as well as Aphex Twin and Boards Of Canada. ‘His interest in classical and improvised music dates back to childhood’, says an announcement for one of Mooryc’s shows. In primary school he learned to play the piano and the drums. Later, for over a decade, he played the guitar in blues and metal bands, and he also supported artists developing their own songs.
Mooryc chose to study philosophy at the Adam Mickiewicz University in Poznań, but he eventually dropped out. Before he graduated in violin-making from the Academy of Music in Poznań, he worked in a bus depot washing 130 vehicles per day. During his studies at the academy he became interested in music production.
Nowadays, the artist plays the guitar or other instruments, but he mainly uses a synthesiser. Most of his work is done, however, at the production stage.
I only use two exterior instruments, namely, a microphone and a synthesiser. I sometimes play the latter live, while at others I don’t, and prefer to programme it, send it through MIDI and then manipulate the sound on the fly while I’m recording a track. (…) The most important part of the music-making process is production. Regardless of what instrument I happen to record live, I still have to process, arrange, and cut whatever sounds I am dealing with, so playing one is actually never my main focus.
– shared the artist in an interview. [http://www.muno.pl/news/muno-podcast-mooryc-mix-wywiad]
The story about how Mooryc became a singer sounds funny. He wants to be seen as someone who tries to explore the art of music production, to check if he can achieve a specific effect. And it seems that this is precisely how he began to sing:
This was an accident and a consistently repeated error. I first recorded the vocals for Immortality with a built-in laptop microphone to see what could be done with such hardware (...) I try to treat my voice instrumentally. Few of my ‘songs’ and their lyrics actually reflect internal processes I have gone through.
Author: Jacek Świąder, transl. Bozhana Nikolova, April 2015
- 2012 – All These Moments
- 2013 – Roofs
- 2015 – Take’em All