In March, Brooklyn-based synth rockers Bear in Heaven teased fans with a preview of their new album, I Love You, It’s Cool, slowed down to an ambient drone. That long awaited follow-up to 2009’s hit LP, Beast Rest Forth Mouth, was properly released in April followed by extensive touring in the U.S. and Europe. The tour is finally winding down, but not before an August 2 show at Midtown-venue Bardot organized by Nightdrive Miami (see ticket giveaway details at the end of the post). Ahead of the gig, I chatted by phone with Bear In Heaven guitarist Adam Wills about singles, festivals, and some sad news out of Athens, Ga.
In attendance at Bardot last night were all the staples of the bottle service scene — you know, short Persian guys in untucked button-downs, likely some level of rich; Anglo babes of every description, yet all looking vaguely like California swingers; tall former athletes rocking backwards caps, drinking 1664 — but with half of Pitchfork darlings The Juan Maclean in the house, there was also some heavy cross-pollination going on. Pale foxes with pixie cuts squeezing nervously through the throngs, bros with broad-striped polo shirts and five o’clock shadows breaking in their first pair of skinny jeans. To this outsider, it seemed like the Miami Dream realized. And the soundtrack was spot the fuck on.
Living legend Peter Phillips, aka Pete Rock, was instrumental in pioneering and popularizing the infusion of jazz into hip hop during the early ’90s. It all started when Phillips prominently featured jazz and soul samples along with more traditional beats and scratches on Pete Rock & CL Smooth’s 1991 debut EP, All Souled Out, which featured samples from Freddie Hubbard, Lou Donaldson, James Brown, The Meters, and more. Since then, Pete Rock has released four solo albums, including 2001’s notable PeteStrumentals, and amassed a production catalogue boasting collaborations with Tupac, Talib Kweli, A Tribe Called Quest, Nas, Kayne West, and Jay-Z.
Part human, part cyborg, part stardust, Montreal-based Grimes (aka Claire Boucher) is touring behind her critically-acclaimed third album, Visions, and will take the carpet at Bardot Thursday night. We have a pair of tickets to give away to one of our mailing list subscribers. To enter to win, sign up for our weekly e-blast and follow the simple instructions in the friendly “Welcome!” email. We will announce the winner on the Beached Miami Facebook page early in the afternoon on Thursday. Good luck! Update: And the winner is …
Twin Sister’s reviews and profiles are littered with blind Portishead comparisons, but this Long Island quintet stand quite tall on their own 10 feet. On their 2011 release, In Heaven, singer Andrea Estella’s versatile voice carries a grouping of intimate tracks that seem as influenced by Angelo Badalamenti’s eerie Twin Peaks songs as by any Stereolab album. Equipped vocally to match any mood and pitch, Estella seamlessly alternates vocal personas and at various times sounds like Amy Winehouse, The Cardigans’ Nina Persson, and either CocoRosie sister.
Estella and company are next up in Bardot’s Living Room Sessions series, with a gig on Thursday night. Tickets to the 21+ show cost $20 (the $15 early birds sold out), and we’ve got a free pair to give away to one lucky brother or sister. To enter to win, simply leave a comment on this post. We will announce the winner, chosen at random, on the Beached Miami Facebook page on Wednesday afternoon. Until then, check out the very Roadhouse-worthy “Kimmi in a Rice Field”, track five off of In Heaven.
In 2011, young Alec Koone, aka Balam Acab, stepped out from his own shadow with material that took the music industry by storm. After establishing a bit of an online presence in 2010 as a buzzy electronic bedroom producer, the 20-year-old Pennsylvania native released his gorgeous debut full-length, Wander/Wonder, an album that would perfectly score a dreamy swim with the underwater ghosts of ancient dolphins. With one record, released back in August, Koone made the leap from capable, inside-the-box bedroom musician to stunningly sophisticated audio collage artist, earning a reputation as one of the genre’s more promising producers in the process.
Hosted by Sweat Records, Balam Acab will play Bardot on Saturday after Art Walk. Tickets to the 21+ show cost $15, and we’ve got a free pair to give away to one lucky soul. To enter to win, simply leave a comment on this post. We will announce the winner, chosen at random, on the Beached Miami Facebook page on Thursday afternoon. Until then, let the serenity wash all over you.
Slick Rick may not have released an album since 1999’s The Art Of Storytelling, but the bejeweled, be-patched emcee is still the effing Ruler. Touring behind nothing but the suavest flow this side of the Thames — Rick was born Richard Walters in Southwest London — the 46-year-old legend is performing at Bardot on Thursday night as part of the Midtown lounge’s Living Room Sessions series. To enter to win two tickets to the show, simply leave a comment on this post. We will announce the winner, chosen at random, on the Beached Miami Facebook page on Wednesday afternoon. Until then, take a stroll back in time with MC Ricky D as your smooth-rhyming tour guide.
“La Di Da Di” — Slick Rick and Doug E. Fresh
When your given name is Chazwick Bundick, it’s hard to see why you would adopt a stage name. Nevertheless, Bundick chose Toro Y Moi (translation: “Bull and Me”) to present his special blend of sensual ambient jams. The bespectacled 24-year-old’s every move has been chewed up and swallowed by the music-loving public since he backed up a series of promising EPs and demos with his 2010 full-length debut, Causer of This, which married chillwave’s traditional dreaminess with hip hop’s funk/soul collage work. Bundick followed up Causer with 2011’s Underneath the Pine, a slight departure from chillwave with tighter, less-dazed song structures and even some conventional pop choruses.
Touring behind the new album, Bundick is playing Bardot on Thursday — his third Magic City show since 2010 — as part of the Midtown lounge’s stellar Living Room Sessions series. To enter to win two tickets to the show, simply leave a comment on this post. We will announce the winner, chosen at random, on the Beached Miami Facebook page on Wednesday morning. Until then, enjoy “Still Sound” off of Bundick’s latest. (I just wanted to write “Bundick” again.)
When Neon Indian last came to Miami, in October 2009, they had just plowed through the blogosphere as the mysterious darlings of chillwave on their way to Pitchfork permanence. “Deadbeat Summer” was on everyone’s playlist and the band from Denton, TX, was arguably the country’s hottest new indie thing. On Dec. 1, they’ll return as the undisputed kings of the hotly disputed genre to perform at Bardot during Art Basel, according to neonindian.com.
Led by Mexican-born Alan Palomo, Neon Indian have toured with some of South Florida’s best. They summoned West Palm’s Sumsun, a chillwave duo whose music channels Palomo’s style, to the West Coast late last year for a few dates on a bill that also included Sleigh Bells. Back in ’09, ANR played three Florida shows, including the Oct. 15 midnight set at Rok Bar, with Neon Indian in support of the Miami duo’s sophomore release, Hearts. (Neon Indian also collaborated on the debut album of electro-pop band Miami Horror, but they’re from Australia.)
After releasing their invigorating debut Psychic Chasms in 2009, a couple of EPs (one with the Flaming Lips), and dozens of remixes, Neon Indian will finally release their follow-up full-length, Era Extraña, on Sept. 13, giving them a few months to get it down to a science before they light up Bardot in December. Stay tuned for more show details in the coming months. In the meantime, here’s the first single off of Era Extraña.