Panic Bomber talks Hookers’, Bach, and ‘Domestic Violins’

By | August 22nd, 2011 | No Comments
Panic Bomber at Sweatstock 2011

Panic Bomber performing live at Sweatstock 2011

On Saturday, Aug. 17, Richard Haig returned home from running an errand in time to interrupt the robbery of his Little Haiti abode. Despite cutting the crime short, Haig — a Miami-based electronic musician and DJ who gigs as Panic Bomber — still lost his laptop, guitars, bass, banjo, television, SM58 microphone, black Levi’s, and Converse sneakers.

“I’m still kinda reeling from it,” Haig says. “Luckily, I didn’t lose any music. If I’d been gone for another five minutes, I would have lost everything. I got lucky.”

Actually, we’re all lucky the thieves didn’t sprint away with any of Haig’s unreleased tunes. Between Getting on My Mind (2010), Panic Bomber’s falsetto-fueled debut LP, and the just-released Domestic Violins, a five-track EP that largely eschews the straits of song structure for the resonance of canyon-deep grooves, Haig has proven himself one of Miami’s funkiest music makers.

Ahead of the Domestic Violins release party at Electric Pickle Thursday night (free entry with RSVP, open bar), I called up Haig on Sunday to ask him about his punk past, his Scotland roots, and the similarity between DJing and making furniture. Naturally, Bach and Bartók came up.

Your bio mentions a background in punk and indie bands without getting into specifics. Can you tell me a little more about that background?

Haig: Yeah. I used to have this raging three-piece garage punk band called The Dead Hookers’ Bridge Club. That’s “Hookers’” with the possessive plural apostrophe. So it’s multiple hookers’ bridge club. We thought long and hard about that one.

I was playing guitar and singing in this three piece. It was a tongue-in-cheek garage punk band, and we just kinda raged.

A Miami band?

Haig: Yeah. Based in Miami, we did some touring around, Tejas, Nashville, all these places. We had a blast. People really liked us. We put out a seven inch on New Art School records. We were the kind of band that the show wasn’t done until at least one of us was bleeding. We’d start each set by pounding shots on stage. It was absolute mayhem, but super fun.

It was basically a hobby. It’s funny — it was me and my two best friends from college. We were all at U.M. studying classical music and this was our release. This was our way of making music fun, to get rid of the stuffiness and just rage.

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