Over the past decade, Melbourne, Australia has developed a reputation as the home of a prominent, internationally recognized electro pop scene that includes the likes of Cut Copy, Tame Impala, Midnight Juggernauts and countless others. With the release of their 2010 debut, Illumination, the Melbourne-based quartet Miami Horror joined that list and received both national and international attention for a sound that owes a debt to New Order, Prince, Michael Jackson, E.L.O. and others.
The Australian quartet, comprised of Benjamin Plant (DJ and producer), Josh Moriarty (vocals, guitar), Aaron Shanahan (guitar, vocals and production) and Daniel Whitechuch (bass, keyboards and guitar) spent the past three years crossing the Pacific between Melbourne and Los Angeles with stops in Paris writing the material that would wind up becoming their soon-to-be released album, All Possible Futures. And with such an upbeat album title, the material on the album possesses a bright neon glow and a breezy optimism – but whereas the previous single “Love Like Mine” feat. Cleopold bore a resemblance to Wang Chung, the album’s latest single “Real Slow” feat. Sarah Chernoff (of Superhumanoids) manages to contain both elements of 80s synth pop and house music, as it’s comprised of layers of cascading synths, sinuous keyboards, complex percussion consisting of finger snaps, hand claps, explosive blasts of cymbals and drum programing paired with Chernoff’s ethereal vocals. The track effortlessly evokes tanned and toned bodies on sunny, summer days on the beach or by the pool, and of nights under strobe lights in the club – and with a radio-friendly accessibility that’s infectious.
The recently released official video reminds me of more artfully shot 80s pop movies – the sort that would star someone like John Cusack, Emilio Estevez, Kiefer Sutherland or a large ensemble cast and capture the ennui of beautiful suburban life.