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Tame Impala Meets Passion Pit in Miami Horror's new LP 'The Shapes'
The Australian four piece Miami Horror have just completely changed their whole sound with a new LP titled The Shapes.
Their 2011 debut Illumination was one of the best contemporary dance albums of the year, however the band have opted for a change in musical direction channelling the 80’s for this LP and boy did they pull it off.
The LP consisting of five tracks that follows 2015's All Possible Futures is full of risky choices. For instance having the 80s as such a clear influence can make music extremely polarizing.
Plenty of artists have fallen into near parody levels of stupidity when taking musical elements from that decade. Thankfully Miami Horror have managed to take the light-hearted warm elements of a classic 80’s record and blended it with all the intricate melodies you want in a modern record.
The lead single of the LP is Leila and although not being particularly complex in its themes and ideas, it’s clearly a track the band just want you to dance to, and when that’s your goal it gives you freedom to have fun with the track. Throughout the song you can sense it was a fun record to make and this is an underated characteristic to have in a record.
Usually when a band gets round to there third or fourth release it’s when they start ‘maturing’ and start trying to be overly pretentious and complex and that’s a big reason why this is such a good LP.
It’s clear in its goal to not trying to solve the worlds problems, it’s just trying to get you to dance. A message I think every music fan can get behind.
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Using soft guitar riffs as a basis for some of the songs on this record, Trapeze in particular uses a ridiculously catchy riff as a cornerstone of the track, and the soft vocals excellently compliments the High-tempo set by the drums.
Ultimately you can’t listen to this LP without thinking of the 80’s. The artwork in particular is incredibly 80’s and I mean that as a compliment as all the best things about that decades music has been extracted and given a contemporary sound. The use of synths are particular highlights.
It’s an LP made to be played at summer festivals with your friends and a beer in your hand. It’s just an incredibly catchy dance record. What more can you ask for?
