Initially formed in 2007, as the solo recording project of Melbourne, Australia-based DJ and producer Benjamin Plant, Miami Horror eventually expanded into a full-fledged band with the addition Josh Moriarty (vocals, guitar), Daniel Whitechurch (bass, keys, guitar) and Kosta Theodosis (drums) and with their earliest releases — 2008’s Bravado EP 2010’s full-length debut Illumination and 2015’s sophomore effort All Possible Futures — the Aussie act established their own sound, which drew from Prince, New Order, Todd Rundgren and Pink Floyd, as well as from house music and electro pop. Interestingly, the act’s most recent effort, 2017’s The Shapes EP was a decided change in sonic direction for the act with the material largely indebted to 80s neon-colored pop and New Wave.
Earlier this year, I wrote about “Restless,” the first single from the acclaimed Aussie indie electro pop act in over two years, a single that found the project returning to its collaborative and production-based roots, as the act’s new incarnation. “The Shapes was always meant to be a one-off conceptual project, so once that was complete I began moving back towards the original creative process that Miami Horror started with; a simpler approach to production and a continued emphasize on outside vocalists.” Plant says. “For me, music has always been about completing a vision and trying to make something stand out. Allowing outside collaboration really opens me up to complete that vision without being restricted to my own skill set.”
Now, as you may recall “Restless” was a breezy and summery track centered around shimmering synths, Nile Rodgers-like funk guitar, tons of hi-hat and a plaintive and sultry vocal contribution Kevin Lavitt. And while retaining the slick, dance floor-friendly electronic production that has won Plant international acclaim, the song seems indebted to 80s Quiet Storm R&B — in particular Cherelle‘s “Saturday Love,” and Mtume‘s “Juicy Love” immediately come to my mind, as the song possessed a similar sophisticated sexiness to it. “Luv Is Not Enough” the acclaimed Aussie act’s second single of this year is centered around shimmering guitars, a funky, two-step inducing groove and Clear Morifee’s alluring vocals, presenting a romantic vision of empowerment and self confidence. While being in a similar vein as its immediate predecessor, Plant cites artists like The Internet, Kaytranada, Anderson .Paak and Calvin Harris‘ 2017 single “Slide,” which he says caused a big shift in perspective.
“We hadn’t really been into much new music. Everything was feeling dull and minimal,” Plant says of the writing of “Luv Is Not Enough.” “Then when I heard ‘Slide,’ it was a seemingly revelatory moment. It was refreshing to hear a song that was based around the simplicity of a good bass line and chords. It made me realize that maybe we’d been overthinking things, as those had always been two of our favorite and highest prioritized elements when we started out.”
Along with the single comes the announcement that the project will be releasing their highly-anticipated, third full-length album next year — and that Miami Horror will be embarking on a 17 date North American tour with an all-star lineup, a sextet that will include vocalists Reva Devito and TC Milan and Melbourne’s Queen Magic on guitar. The tour will include a November 27, 2019 stop at Webster Hall. Check out the tour dates below.
Oct 31: Vancouver, BC @ Fortune Sound Club
Nov 1: Seattle, WA @ The Showbox
Nov 2: Portland, OR @ Mississippi Studios
Nov 6: San Francisco, CA @ August Hall
Nov 8: Santa Ana, CA @ The Observatory
Nov 9: Los Angeles, CA @ Teragram Ballroom
Nov 13: San Diego, CA @ Music Box
Nov 14: Phoenix, AZ @ The Crescent Ballroom
Nov 16: Mexico City, MX @ Corona Capital Festival
Nov 20: Minneapolis, MN @ Fine Line
Nov 22: Chicago, IL @ Park West
Nov 23: Toronto, ON @ Velvet Underground
Nov 24: Montreal, QC @ L’Astral
Nov 26: Cambridge, MA @ The Sinclair
Nov 27: New York, NY @ Webster Hall
Nov 29: Washington, DC @ 9:30 Club
Nov 30: Philadelphia, PA @ The Foundry