For one night, the American Airlines Arena reeked of cigarettes. Walking to the arena from Biscayne Boulevard, concertgoers could see handlers milling about the balcony like eyeliner-clad gargoyles spilling smoke and ashes from their open mouths. The occasion for such a morbid gathering — Depeche Mode’s Miami stop on its Global Spirit tour…
A fixture of South Beach and a hub for those who still chase their liquor with drags from their cigarette, Mac’s Club Deuce has long provided a makeshift home to the displaced, whether it be by natural disaster or by the doldrums of life.But as Hurricane Irma approaches and the prospect of a mandatory evacuation looms over Miami-Dade County, some patrons — and indeed the bar itself – aren’t looking to take the chances taken by their booze-inclined forebears.
In conversation, Zachary “Hooks” Rapp-Rovan is modest about his success. As one-half of Zeds Dead, he and creative partner Dylan Mamid (DC) have built a veritable EDM empire that has allowed them to travel the world, command an army of adoring fans, and collaborate with some of their musical heroes. If any of this has fazed Hooks, it doesn’t show. Beyond the joy of making music for a living, Hooks and DC seem to relish the opportunity to share their passion — rather than just their work — with followers.
Florida is the Sunshine State, but its southern tip has continually proven to be a hive for the dark and morbid. Despite all of the palm trees, shimmering sands, and omnipresent heat of the sun, goth culture has long pervaded Miami in a manner more befitting a depressed English seaside town in the ’80s.
Seu Jorge’s David Bowie covers were a thrill in Wes Anderson’s The Life Aquatic With Steve Zissou, and now South Florida audiences will have a chance to hear them live.
Mystvries will bring the jams (and the chills) to Popcorn Frights this weekend.
Churchill’s Pub hosts its eighth-annual Bowie in Space event, its second since David Bowie’s passing.
Steely Dan evokes seediness and glamour in equal measure, conjuring imagery of fabulous, decadent cities and the pained, dysfunctional folks who occupy them. Naturally, they’re a perfect fit for Miami’s aesthetic.
The Wu-Tang Clan’s Raekwon the Chef is a man of many talents; he’s rap’s premier mafioso, responsible for the crown jewel of the genre, Only Built 4 Cuban Linx…; and he has one of the most distinct names in the game, which lends itself to online sketches as well as features in Food & Wine magazine.
Following an exciting debut that brought some much-needed post-election salve to Miami vis-a-vis the Flaming Lips and Crystal Castles, House of Creatives Music Festival will be returning to Miami on November 11 and 12 for a second weekend of quality tunes and sand-seeped toes. Although the lineup for this year’s iteration…
Here’s the not-so-subtle secret to Pink Floyd’s success and perennial popularity: by merging the grandiosity of progressive rock with the everyday concerns of the working man and the dorm room philosopher, the unlikely English quartet struck a chord with just about anyone with a semblance of compassion or intellectual curiosity…
Bribery Corporation brings synthwave to Miami and the internet at large with a new compilation, zine, and fashion look-book.
Party Favor, who’s set to perform at Florida International University this Thursday for SummerFest, the school’s annual EDM concert, is a South Florida regular. The DJ/producer has what he calls “more or less a residency” at E11even, one of Miami’s premier dens of debauchery. Having just made an appearance in the club’s main room last Friday, he’s well acquainted with the city.
Seven years before writing his grandest personal statement in The Wall and only a few short months before his artistic arc bent toward the stratosphere with The Dark Side of the Moon, Roger Waters released one of his most intimate songs on Pink Floyd’s 1972 album, Obscured by Clouds. Backed…
Over the past ten years, STRFKR’s Josh Hodges has subtly fostered a cult following, but it’s unclear whether this was deliberate. In 2008, Hodges began what was then known as Starfucker in Portland, Oregon. He intended it to be a fun, loose, creative outlet removed from the more serious stylings of his band Sexton Blake.
Venezuelan-born, Miami-based composer and sound artist Gustavo Matamoros might be the most approachable man in Miami music. Speaking with him about his artistic passions — theories of harmonization, ideal listening experiences, and, above all else, experimentation in sound — is almost a symphony unto itself, sweeping in its scope and ambition but grounded by a relatable presence and a smiling face.
The video follows a team of “paranormal investigators in love” on a trip through the Magic City.
Samsung, Nokia, Budweiser, General Motors — what do these things all have in common? They all know Jay Z loves corporate partnerships! Back with a new album, a newly stylized stage name, and a new sponsorship with Sprint, Hova is pulling out all the stops to make sure his forthcoming record, 4:44,…
When Hanah Davenport first conceived of Ars Feminae Miamiae in February, it wasn’t as an explicit political statement. Coming off the heels of a calendar year that saw gender politics writ unavoidably large, it’s only reasonable to expect that a female artist would want to interrogate and pursue expressions of…
As New Times has repeatedly emphasized in the past week, U2 continues to command public fascination. Miami proved as much last night, when a legion of fans took to Hard Rock Stadium to witness the Irish quartet reprise its celebrated fifth album, The Joshua Tree, in commemoration of the record’s 30th anniversary.
When it comes to the tastes and inclinations of millennials, a few axioms hold unimpeachably true. Millennials love avocados and the dog Snapchat filter. Millennials reject the concept of napkins and are reluctant to buy homes, possibly because their budgets are only big enough to account for avocados. Millennials love…
Speaking to Greg Wilson is the journalistic equivalent of drunkenly gabbing with a friend over cigarettes. Having stepped outside of the party, you’re now free to rant, rave, and gesticulate as wildly as possible; ideas are exchanged, historical precedents are cited, and rhetorical positions are asserted, all in the name of sharing serious insights about unserious things. That is to say, music is a big deal to Wilson.
