Miami Horror Talks New "Almost Finished ... Not as 'Party' Oriented" Album
Despite being a sly sarcastic joke, the band name Miami Horror nonetheless evokes our city's essential duality -- a glitzy, neon-soaked tropical paradise on the surface, with a dark, seedy criminal underbelly, as mythologized by Miami Vice and Scarface.
"I liked the contrast of the two words -- colorful and tropical, yet dark," the group's Australian frontman Benjamin Plant tells Crossfade about his choice of moniker.
And because he's far from being a Miamian himself, it's easy to see the whole Miami Horror concept as a young Aussie's post-ironic romantic take on the flashy Miami lifestyle and its electronic soundtrack.
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Indeed, the exuberant visual punch of Miami Vice and sonic allure of Giorgio Moroder's vintage synth score for Scarface can be counted among the retro-kitsch '80s pop cultural references in Miami Horror's early incarnation. This was back in the late 2000s, when it was still Plant's bedroom-production solo project, and he was making his first international waves thanks to MySpace and the blog house explosion.
Of course, that version of Miami Horror also coincided with Australia's indie-dance music boom and the sensational crossover success of labels like Modular Recordings and acts such as Cut Copy, The Presets, and Sneaky Sound System, just to name a few.
"It was superexciting being 19 to 21 while a strong scene was developing," Plant reminisces. "Modular were touring a lot of international acts that we were playing DJ sets. The music seemed exciting and exactly like what I wanted to hear at that time, and consequently inspired me to take music more seriously.
"I think everyone seemed to be doing their own thing, but somehow it all felt consistent," he adds. "I can't pinpoint why, but it was just a consequence of similar influences and attitude."