Aaron Freeman is best known as Gene Ween, the singing half of alternative rock duo Ween. With a stunningly versatile repertoire and oddball lyrical content (see “Flies on My Dick” and “The HIV Song”), Gene and Dean Ween earned a cult following throughout the late ’80s and ’90s, even scoring an improbable hit in 1992 with “Push th’ Little Daisies” off of their major-label debut, Pure Guava.
After earning the #7 spot in our Top 50 South Florida Songs of 2011 with a track off of their 7″ debut release, Lake Worth trio New Coke — comprising singer/guitarist Danny Morales, guitarist Gabe Schnirnan, and drummer Steve McKeane — spent last year working on a new record and playing a few shows around Florida. Well, the near silence was worth the wait, as New Coke’s second release proves from its very first strum. Recorded with Torche’s Johnathan Nuñez and mastered by Carl Saff (who has also worked with Unsane and Guided By voices), the three-track 7″ makes its digital premiere (under a working title) here on Beached Miami ahead of a possible hard-copy release via Slovenly Records, whose owner invited New Coke to play in the label’s SXSW showcase on March 14. In the meantime, you can stream all the tracks from New Coke’s bandcamp after the jump.
Ever feel like a demon’s stalking you? Maybe you just need to learn how to fall in love. That’s ICECREAM’s advice on “Blessings”, a listless lullaby of a track off of the doom-pop foursome’s upcoming second album, His Approval. Here’s the “Blessings” video, directed by Xander Robin around Crown Heights, Brooklyn, where ICECREAM moved from Miami last year.
Valentine’s Day evokes different emotions in different folks depending on how likely one is to get laid, or at least a box of chocolate, on this loaded holiday. To celebrate the agony and the ecstasy, the joy and the pity, the lonesomeness and, ultimately, the love, here’s a playlist of songs that are appropriate (however inappropriate) for the occasion. Curated by Miami Music Guide editor and William “Don Juan” Alton, these Valentunes are all by local bands. Gotta love that.
Frank “Rat Bastard” Falestra’s annual celebration of noise took over Churchill’s Pub from Wednesday through Saturday. Acts from as far as Denver and Boston made the trek to join a host of local bands with a frantic 15-minute set time limit. Performance styles ranged from Clang Quartet’s intense Christian noise performance filled with colorful and disturbing prop instruments to Unicorn Hard-on’s dance-inducing “Technoise” beats. Click on the photos here to view them in wide format, and visit the Beached Miami Facebook page to browse many more photos from International Noise Conference 2013.
The narrative of Miami’s ongoing transformation comprises various story lines, including, most prominently, the burgeoning of its artist community and cultural offerings (as chronicled in the recently released documentary Rising Tide). There’s also the less prominent stories of its increasingly vibrant music scene — attested to by our list of the Top 50 South Florida Songs of 2012 — and its surprisingly rich bike culture (surprising because our sprawled-out, car-centric city would seem utterly inhospitable to bike travel — and, in fact, it can be.)
Quick, name a sultry, smoky, R&B-influenced pop act to garner attention in the last five years. Not a very difficult task, is it? In syncopation with the bass music (don’t call it the D-word) craze of recent history, more than a few bands have been taking cues from their club counterparts, producing hazy, atmospheric takes on the pop format that bend genre boundaries without ever losing their song-like qualities. From the smoked-out, beat-driven compositions of contemporaries like James Blake to decidedly more radio-friendly, vocal-centric acts like Grimes, a fusion of songwriter stylings and speaker-melting electronica has been steadily poking through the fringes of popular music.
This post is sponsored by the Center for Literature and Theater at Miami Dade College
Growing up in Brooklyn during the late ’80s and early ’90s, Amina Gautier witnessed poverty and the crack epidemic first hand. “As most people know,” she says, “that was a really rough time to be a New Yorker.” Gautier survived the experience and ultimately channeled it into her short-story collection, At-Risk, which won the Flannery O’Connor Short Fiction Award from the University Press of Georgia in 2010.
I’m a Northern California boy, through and through. I grew up ten minutes north of Berkeley, studied computer science engineering at Davis about 45 minutes away, and then was fortunate enough to have the industry I went to school for bloom around me. I spent my post-university career living around the Bay Area, the last four years in the Mission in San Francisco. I am attuned to things that are uniquely San Francisco: burritos, surly Asian women serving me pho, co-workers into fringe politics, passive-aggressiveness.
Amid a heavy touring schedule, synth soother Judson Rogers — stage name: Sumsun — has released Avey Oliver, a new EP via Halocyan Records. Available now on iTunes and due out on vinyl in February, the five-track release features “New Piano”, a song with the gentle-sun, receding-tide, drum-circle ambiance that both pegs Rogers as a South Florida native and makes him a coveted party starter wherever his turntables take him. Here’s the new video for “New Piano”, which somehow emits the scent of sea breeze when you listen to it on full volume.