Interview | Miami Horror

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Remote Control Records


Since the release of their debut album Illumination, Miami Horror have spent the last 3 years splitting their time between Melbourne and LA and writing in beautiful locations around the world from the Californian mountains to Paris. The result of these years abroad is their sophomore album All Possible Futures, set for release next month. We had a chat to Miami Horrors’ Ben Plant to learn more about their highly anticipated second record.

Your sophomore album is coming out next month, and you guys wrote the album in some stunning locations, how did the process of this record coming together compared to last?
I don’t know how much writing in different places affects how it sounds. Obviously writing in LA has really helped influence our music but I guess we were never in any other places besides LA for too long. We had the idea of what we wanted to do and we were trying out different ideas but it was a really different process from the first album I would say.

You’ve been playing quite a few shows recently, have you had much of a chance to test out the new material from the new album yet?
Yeah, when we’ve been playing live over the last six months we’ve been playing about five songs off the new album and three of them were released at the time – “Real Slow”, “Wild Motion”, “Colours in the Sky” but we’ve never actually played “Love Like Mine” yet. We’re playing that this week coming in Columbia.

For the last few years you guys have been moving between LA and Australia – what is it you get from LA creatively? 
It was just very different. I was trying to convince the other guys in the band and they weren’t into it the first time they went through there. I think it was only for a few days. Then we went back again later that year and they started to realise it was kind of interesting. It’s just the kind of place you never see all of and we found it intriguing. It’s the place where all the freaks of America move to when they don’t know what to do with themselves. You can imagine how many characters there are there and the stories. Everyone’s so keen to meet everyone because they’re there for a reason. You can get all the negatives like it’s schmoozy and stuff but I just find it interesting because it’s a bunch of people who are upbeat and friendly. I think the sunshine helps, everyone’s in a good mood all of the time.

What was the creative dynamic like between you guys writing this record?
It came in very different ways and it changed with every song. It’s a very versatile way of creating and I think that’s what I liked about this project that there are no rules of how everything can be done. It’s all about making the best album to put out into the world, not even really for us. I want to create that experience that I had with some of my favourite albums when I was younger.

There’s quite an array of different sounds and I know you drew inspirations from a few different artists on this album. I’m interested to know what kind of stuff you listened to growing up?
When I was in primary school, I didn’t really like music because of all of that Spice Girls and Hanson stuff. You don’t really know what alternative music is at that time. When I was about five I used to play with music a lot. My teenage years were pretty rock orientated – The Strokes, that kind of stuff. Then it progressed when I met a new group of friends to more electronic stuff like Daft Punk and Phoenix and I found myself drawn to the eighties.

What have you been listening to lately?
When you’re working on an album you don’t get much time to listen to music because it’s not like art when you can listen to music the whole time. But these days I just like anything. I’m a lot more open, I used to be a lot more closed-minded to what I liked and what was actually good. Now I can see that something can be great song writing but not the kind of sound or genre I would listen to. That’s the good thing about music – you can take little bits from everywhere.

Do you find you guys have quite similar taste in music?
I would say a lot of variety in the band overall. At first it was kind of hard because I was kind of directing it but Josh still listened to whatever the hell he wanted. Now within the band people understand what Miami Horror is and what references are right for Miami Horror so we’re on a very similar page after four years or so.

You guys have toured pretty extensively internationally, do you have a favourite destination to play?
There’s so many good places to play. Our favourites always tend to be something on New Years Eve when we get to do something special on a countdown. When you get to make a big event of it and everyone’s in a festive mood. I tend to prefer festivals over small gigs.

What do you prefer about festivals?
It’s funny when we first played London to about 200 people, I felt more pressure from that than playing to five or ten thousand people at a festival. There’s something exciting about a festival, just seeing so many people enjoying it. When you’re playing a smaller crowd you can see everyone’s faces in detail and you start to think about it too much.

Is there anywhere in the world you would love to get to?
We haven’t played any of the big US festivals or any of the European ones so it would be fun to play one of them. Maybe Fuji Rock.

What’s your tour schedule looking like for this year, will you be touring Australia anytime soon?
Yeah maybe around July or August. We’ve got America in May and June and then we’ll come back to Australia for the summer festival season.

What are you most excited about that’s coming up this year?
It’s all just in the planning now so it’s hard to know. I’m most excited about the album coming out, that’s the biggest event really. I love creating the art and releasing it more than touring and playing live so just the fact that the album will be coming out and we get to see how people react. You get to feel an emotional connection with it. Even in the case of people not liking it you can still take something from it and you get to make a new album. Just the excitement of that transitional period and beginning of a cycle.

All Possible Futures is out April 24th via Remote Control Records.