Javier Garcia
ITHINK AMP: Dave Matthews Band REVOLUTION LIVE: Moonshine Bandits RESPECTABLE STREET: 2nd Best 80’s Prom Ever ARTS GARAGE: Chris Santiago CHET 5/20
RESOURCE DEPOT: It’s So Nice to See You Artist Reception Caitlin Frown RESPECTABLE STREET: Dan Lee Hip Hop MTN SPACE GALLERY: Lucid Dreams by Gustavo Oviedo thru June 26 CULTURE ROOM: Candlebox, Hold on Hollywood ARTS GARAGE: Warren Wolf Group ITHINK AMP: The Lumineers 5/21
HOLLYWOOD ARTSPARK: Afro Roots Fest ft. Jesus Hidalgo, Gilmar Gomes, Philip Montalban, The Resolvers, Miamibloco, DJ Le Spam
5/25 RESPECTABLE STREET: Hypocrisy, Carach Angren, The Agonist & Hideous Divinity PB DRMAWORKS: The Belle of Amherst by William Luce 5/26
RESPECTABLE STREET: WOOD-STOCK, A Benefit for Chris Wood & Family ft. Legends of Rodeo, Tricerapop, Disbarred, Rivers, Emily Blaylock, Elliot Shaw
REVOLUTION LIVE: Chvrches FILLMORE MB: Brit Floyd
6/2 ITHINK AMP: The Doobie Brothers CULTURE ROOM: Toad the Wet Sprocket, Better Strangers
RESPECTABLE STREET: MASS ARTS GARAGE: Garage Queens
6/3 THE PEACH: Oh Pharts exhibition w. Paul Abrams RESPECTABLE STREET: Existence Has Failed, Thirst, Bottomfeeders, Tracheotomy PROPAGANDA: Plastic Eyes REVOLUTION LIVE: Hardwired (Metallica Tribute), Maiden Mania (Iron Maiden Tribute) ARTS GARAGE: First Friday Art Walk, Tito Puente, Jr. & his Latin Jazz Ensemble
5/28
6/4
ITHINK AMP: Dave Matthews Band RESPECTABLE STREET: Emo Night Brooklyn GRAMPS: Plack Blague, SYZYGYX, Pleasure Kitten ARTS GARAGE: The Matt Schofield Band
ST. AUGUSTINE AMP: Fool’s Paradise w. Umphrey’s McGee, Lettuce, Flamingosis ARTS GARAGE: Tito Puente, Jr. & his Latin Jazz Ensemble
REVOLUTION LIVE: Dadju CULTURE ROOM: Stryper
DOWNTOWN HOLLYWOOD: ARTWALK FILLMORE MB: Rels B ITHINK AMP: Bill Burr CULTURE ROOM: Candlebox, Hold on Hollywood GRAMPS: Mystery Skulls, Su Lee
5/27
5/22 RESPECTABLE STREET: Front Line Assembly, Rein ITHINK AMP: Wild’n Out ARTS GARAGE: Alex Cuba POMPANO AMP: Pat Benatar, Neil Giraldo
FLA KEYS BREWING CO.: Johnny Dread, Bad Apples Brass Band
5/24 FILLMORE MB: Wallows, Jordana
5/31
FILLMORE MB: Bright Eyes
5/29
FLA KEYS BREWING CO.: Suenalo,
RESPECTABLE STREET: PRIDE ON THE BLOCK, Slothrust, Moon Kissed
6/5 ST. AUGUSTINE AMP: Fool’s Paradise w. Umphrey’s McGee, Lettuce, Andy Frasco & the U.N., Isaiah Sharkey, Jennifer Harswick & Nick Cassarino 6/7 REVOLUTION LIVE: Earthgang, Mike Dimes, Pigeons & Planes 6/8 REVOLUTION LIVE: The Gilmour Project (Pink Floyd Tribute) 6/9 ITHINK AMP: Tears for Fears, Garbage
RESPECTABLE STREET: T.S.O.L., 1983, Killed By Florida, Hellfire Hooch LAS ROSAS: No Coffin
6/10 ITHINK AMP: Kid Rock REVOLUTION LIVE: Slippery when Wet (Bon Jovi Tribute) PROPAGANDA : Killbillies, Dial Drive, The Longest Hall RESPECTABLE STREET: MEGARAVE: This Party Glows In The Dark ARTS GARAGE: Ann Hampton Callaway: Fever! The Peggy Lee Century 6/11 RESPECTABLE STREET: Gimme Gimme Disco (ABBA inspired dance party) PROPAGANDA : Rux Vendetta FPL SOLAR AMP: Russ ARTS GARAGE: Ann Hampton Callaway: Fever! The Peggy Lee Century 6/12 FPL SOLAR AMP: Crowder, We the Kingdom, Anne Wilson, Patrick Mayberry
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ESOURCE DEPOT: Family Workshop
/17
ILLMORE MB: Caifanes
ROPAGANDA : Vagrant Son ESPECTABLE STREET: BATTLE OF THE ANDS: The Final Round RTS GARAGE: Klezmer Company Jazz Orchestra Presents JubanoJazz
/18
PACEPARK MIAMI: King Gizzard & he Lizard Wizard KATEBIRD MIAMI: Wet Mango Fest ft Never Loved, Julia Bhatt, Las Nubes, Canbal Kids, L’Exquisite Douleur, Dyne Side, oxx Revolt & the Velvets, Bruvvy, Firstworld, rogs Show Mercy, Heatboy$, Dirty Rivals, ion Effs, Brittany Brave, Luis Diaz, Matt Ross
OWNTOWN HOLLYWOOD: ARTWALK EVOLUTION LIVE: Starset, Red, ame on Fire, Oni ROPAGANDA: Rude Television RAMPS: Jay Aston’s Gene Loves Jezebel, Rosearden Funeral Party, Astari Nite, Laboratory ESPECTABLE STREET: 90’s party w/ Night Bulge RTS GARAGE: Julius Sanna & the Positively frica Experience: A Juneteenth Celebration
/19
EVOLUTION LIVE: Dead Kennedys, he Venomous Pinks, Nekromantix
RAMPS: mewithoutyou
/21
MAKE MUSIC MIAMI: ENJOY FREE PERORMANCES ALL OVER MIAMI-DADE OUNTY ON THE LONGEST DAY OF HE YEAR! MAKEMUSICMIAMI.ORG
/23 ESPECTABLE STREET: Psyclon 9 ROPAGANDA : The Shake
/24 EVOLUTION LIVE: Nirvanna, Audio Echo ESPECTABLE STREET: Afterlife & Cane Hill ROPAGANDA : Club Kult Fetish Party
/25
ATCH 1121: Island Festival ft Pan aradise Island Band, Brazilian rummers, Samba and Stilt Dancers
ESPECTABLE STREET: Emo Night Brooklyn ROPAGANDA : Mad Props Comedy Showcase RTS GARAGE: Gumby Navedo y Su Tumbao haranguero
/2 EVOLUTION LIVE: Take This to Your Grave: mo w Dirty Rivals
/7 EVOLUTION LIVE: Squad House
/8 RAMPS: Left to Die, Skeletal Remains, Mortuous
/9
EVOLUTION LIVE: Purity Ring, awn Richard
VENTS@PUREHONEYMAGAZINE.COM DS@PUREHONEYMAGAZINE.COM
CAIFANES grabbed the global spotlight once bands like borders.
Formed in Mexico City in 1987 by singer-guita and keyboardist Diego Herrera, Caifanes ar and pop touches. Credited alongside Maná los Hijos del Quinto Patio for bringing rock of extends well beyond the Latin American ma
The revolution started at home: The disruptive — also known as “Volumen 1: Mátenme porq I’m Dying”) after the hit single opening side music. Outside of the underground, it was consumers met a disheveled and quasi-fem home on the cover of gringo New Wave pla
More hit records followed before internal ten band’s popularity in the ’90s. One faction for the Caifanes vibe in a more alt-rock vein. Bu acclaim and triumphant comeback sets in 20
The core trio of Hernandez, André and Herre Baills and bassist Marco Renteria. Fans old a craftsmanship that cemented their reputa crazed gothic youths. Caifanes perform 8pm Friday June 17 at the
NEKROMANTIX by David Rolland
Globalization might be a nightmare for the economy and the environment, but sounds and scenes flowing freely around the world have only done wonders for music. Consider the distinctly southwestern-American genre of psychobilly finding its preeminent practitioners in the Danish band Nekromantix.
NEKROMANTIX
In Copenhagen back in 1989, stand-up bassist Kim Nekroman (nee Dan Gaarde) turned his love of horror movies and rockabilly music into a ferocious band that might just be good enough to complete a trinity of psychobilly with the Cramps and Reverend Horton Heat. Nekromantix started as a two-piece with Nekroman and collaborator Peter Sandorff busking on Copenhagen’s “Strøget” promenade (think Miami Beach’s Lincoln Road Mall). As the duo accepted krone coins they worked out the songs that comprised their debut album, 1989’s “Hellbound.”
If there’s a Nekromantix signature besides the guttural rage of Nekroman’s singing and his gravity-defying mohawk, it’s his “coffinbass,” a black upright four-stringer in the shape of a casket that he wails on with barely contained fury. The first one was fashioned, ghoulishly enough, from an actual child-sized coffin. Nekroman later taught himself woodworking to build later editions enhancing his capacity to bash out tunes about werewolves and wickedness. The nine Nekromantix albums to date are remarkably consistent in their blasting lyrics and music, and their obsessive storytelling about monsters and murders. After bouncing between European labels for four albums, Nekromantix found a home in America in 2003 with Hellcat Records. Albums with pun-tastically witty horror titles soon followed, including “Life Is a Grave & I Dig It!” and “A Symphony of Wolf Tones & Ghost Notes.” (Hellcat also signed a kindred band, Horrorpops, that Nekroman founded with fellow Dane and psychobilly fanatic Patricia Day.) If the 2019 concert film, “Nekromantix: 3 Decades of Darkle,”faithfully represents the live show, Nekromantix are still a high-energy horrorthon. Francisco Mesa flays guitar, Rene “Delamuerte” Garcia hammers on drums, and Nekroman attacks that coffinbass like he’s trying to wake the dead. Nekromantix and the Venomous Pinks open for Dead Kennedys, 6:30pm Sunday June 19 at Revolution Live in Fort Lauderdale facebook.com/Nekromantix/
CAIFANES
by Abel Folgar
How frustrating it must have been not long ago for rock fans outside of the American and U.K. mainstream to share their love for homegrown talent. Imagine living in Latin America and trying to start a band during the ’80s when English-language songs ruled the airwaves. Spanish-language “rocanrol” has been around since the first twang of fuzz got fed into an amplifier. But it’s safe to say that Rock en Español only e Caifanes got airplay beyond their national
arist Saúl Hernández, drummer Alfonso André re a rock ’n’ roll band with goth, prog rock á, Café Tacuba, and La Maldita Vecindad y f Mexico to the masses, Caifanes’ popularity arket.
e nature of Caifanes’ self-titled debut album que me muero” (“Volume 1: Kill Me Because A — marked a before and after in Mexican s the first time mainstream Mexican music minized outfit of locals that looked more at atters.
nsions led to a breakup at the height of the rmed a new band, Jaguares, that carried on ut Caifanes eventually regrouped to critical 011 at the Coachella and Vive Latino festivals.
era is rounded out by lead guitarist Rodrigo and new can expect the same energy and ation decades ago when they looked like Fillmore Miami Beach. caifanes.com.mx
PRIDE ON THE BLOCK by Amanda E. Moore
“Clematis” is often the first word you hear from regular bar and restaurant goers in West Palm. Locals and seasonal visitors alike know the downtown nightlife district anchored by Clematis Street quite well. But different people experienced it differently as it evolved, and there are numerous Clematis stories. Donna Weinberger, CEO of Inspire Recovery, an LGBTQIA+ addiction rehabilitation service in West MOON KISSED Palm, moved here from the Northeast in the late 1990s. She gravitated to an alternative scene anchored by the likes of WormHole and Kashmir — since long gone — and Lost Weekend and Respectable Street Cafe. Over time, Lost Weekend changed addresses, joining the nightlife row in the 500 block of Clematis and adding a upstairs venue, Voltaire. Respectable Street dropped “Cafe,” and didn’t really mind you just calling the place “Respectable’s.” Through all the changes — many overseen by Subculture Group, — the venues have maintained themselves as a welcoming space for the LGBTQIA+ community. Inspired by the solace she found in the scene, Weinberger helped launch Pride on the Block, a Clematis street fair with crafts, vendors, games and a festive, inclusive vibe. The third annual edition takes place 1pm-12am on Saturday, June 4, followed by Pride’s first-ever afterparty — hosted by SWEAT!, a queer NYC-based dance party. There will be both dancing and bands at Respectable’s. Boston rockers Slothrust will deliver spiritual fervor and experimental indie-punk beats. Up next, Moon Kissed, from New York City, will provide Saturday-night sound infused with the electric atmosphere of the band’s origin story — a serendipitous encounter at a New Year’s Eve party. Three iconic New York City gay bars — The Stonewall Inn, Cubbyhole and Ginger’s Bar – will join SWEAT! in backing Pride on the Block with donations to Transpire Help, a resource organization helping LGBTQIA+ individuals to lead healthy and fulfilling lives. Pride on the Block runs 1pm-12am Saturday June 4 along the 500 block of Clematis Street. The SWEAT! dance afterparty featuring Slothrust (10pm) and Moon Kissed (11:30pm) is 9pm-4am at Respectable Street. prideontheblock.com
TSOL
by Abel Folgar
For all the quirks, highly manipulated lore, identity crises, moniker predicaments and constant defiance of norms, Long Beach’s T.S.O.L. (True Sounds of Liberty) remain one of the brightest and most engaging bands from the early waves of punk rock. Thanks in part to charismatic founder and singer Jack Grisham, T.S.O.L.’s communal TSOL creative spark — a foundation of the band’s genre experimentalism — has cemented their spot in history. Speaking to PureHoney, Grisham jokes, “Were we important? I don’t know. There’s a shitload of bands that said we influenced them, but maybe it’s just because it’s cool to say you were raised by anarchists.” Jokes aside, the band’s debut album, 1981’s “Dance with Me,” is a milestone in American punk. The mix of hardcore and nascent gothic rock with touches of horror certainly paved the way for acclaimed outfits like Christian Death, The Lords of the New Church and even mainstream success stories like Offspring. The band has gone through its share of issues, including an era marked by dueling lineups and naming rights, but overall, T.S.O.L. has forged along, following the summated sonic interests of its parts. Along with Grisham, founding members Ron Emory (guitar) and Mike Roche (bass) continue the racket along with longtime keyboardist Greg Kuehn and drummer Antonio Val Hernandez. Grisham, whose career arc has taken him from music into politics, writing, photography and film, recently directed “Ignore Heroes,” a crowdfunded documentary on the “inception, destruction and reformation” of the band. After exceeding the pledge ask of $60K, Grisham says the film should be out within the next couple of months. Reminiscing on previous Florida appearances, he promises fans “an extremely tight, fun, shit-talking, Southern California, punk-type rock experience.” That’s no vague promise; it’s a pact from a band that is still collectively hungry 40 years later, still ready to challenge norms and do everything on its own terms. T.S.O.L. with 1983, Hellfire Hooch and Killed by Florida perform 8pm Thursday, June 9 at Respectable Street in West Palm Beach. facebook.com/TsolOfficial
PAUL AB by Veronica Inberg & Sean Piccoli
Daily papers, w — where did th as we know from retreat as each screens.
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PAUL ABRAMS
Abrams says in like vintage inke there’s a closen the search for s magazine and it’s super delica
Using found materials, a glue stick and an X-Acto, Abram assembled a parallel world of humanoid figures with objec heads, hybrid landscapes that hover between wild nature home decor, and people situated in the oddest places.
A woman sleeps in a casserole dish under a blank baked cheese in a piece captioned “Carb Crash!” Ano “Coral Drive,” travels a busy asphalt freeway to and fro florescent undersea kingdom teeming with life. Combining harmonizing unlikely, contradictory elements, Abrams in viewers to let their eyes and minds wander.
Another thing he likes about collage is the accessibility. “ kind of sneak it in on weekends or at night,” he says. “I need to take up a whole room or studio.” As a part-time (for now) with a full-time job in private security (and a lot of also committed to building a new house), it can be hard to the time and space to create. But Abrams insists that an can pick up collage: “All you really need is a scissor, a book, your imagination and you can go wild.”
A glimpse of his drafting table on Instagram, where he often how-to videos, makes clear how true that is. In the intervie freely shares a p of creative inte other artists m guard jealously — is a motherlo has really good knew?!
Abrams says he collage a deca Others have tak bestselling “Dic emotional alma Koenig to descr our surrounding his first solo show
It’s been a long helped by lettin speaks to the se assures us there gag. As he exp to “arts” and vo know?” he says. peek into any m enterprising coll
The Peach gallery in West Palm Beach @Oh_Pharts, with an opening reception 6pm Frid through the month. More at thepeachwpb.com an
BRAMS
weekly magazines, glossy manuals, bound texts hey all go? Paper and ink are far from extinct, m our junk mail and printer jams, but they’re in h generation absorbs more of its information on
pure opportunity for collage maker Paul J. n by his whimsical Instagram handle, Oh_Pharts, -taught artist based in West Palm Beach who is solo gallery exhibition this month. He’s also the or June 2022. And he knows just where to look ooks and magazines.
conjuring the strange and the unexpected out ges gleaned from discarded media. Forgotten gone, these dated volumes and periodicals tic power and a hyper-real edge as the material nts of his offbeat, cut-and-paste works.
an interview that for him there’s nothing quite ed paper stock for making something new. And ness to the art that is enhanced, he says, by sources: “You almost have to hunt for that old old book; if you get a magazine from the ’50s ate and means a little more.”
ms has cts for e and
ket of other, om a g and nvites
“I can don’t e artist hours o find nyone an old
n posts ew, he piece el that might y: It turns out that North Carolina — the state ode for raw collage material. “North Carolina d second hand book stores,” Abrams says. Who
e’s been making art since childhood but hit on ade ago and found he had an affinity for it. ken note. His work appears in the acclaimed, ctionary of Obscure Sorrows,” a kind of anac of new words coined by author John ribe complex feelings and fleeting reactions to gs. He’s been exhibited at galleries before, but w is this month at The Peach in West Palm Beach.
g time coming, but Abrams believes Instagram ng him share widely. It doesn’t hurt that his alias ense of humor also present in his work — and he e is more to it than a potential adolescent word plains, “ph” is an abbreviation for photo; add it oila. “I take photos and turn them into art, you s. And for all the digitization of imagery today, a mailbox, estate sale or Goodwill store proves an lagist will always find what they need.
h welcomes Paul Abrams, a.k.a. day June 3. His work will be on display nd instagram.com.
JASON GALEA
KING GIZZARD by Tim Moffatt
While many of us were perfecting our sourdough and coping on a spectrum between “comfortably numb” and “plotting against the neighbors,” King Gizzard and the Lizard Wizard were at work — on multiple albums’ worth of new material, as it turned out. 2020 birthed “K.G.” 2021 gave us both “L.W.” and “Butterfly 3000.” And now we have “Omnium Gatherum, the first King Gizzard KING GIZZARD album recorded wholly in person since the pre-Covid 2019 pair of “Fishing for Fishies” and “Infest the Rats’ Nest.” If you know these prodigious Australian psych-heads, you know that along with their marathon live shows and offbeat album titles, they thrive on proximity as they occupy almost every rock genre imaginable. The pandemic-era records are no exceptions, from their microtonal expressions and synthesizer arpeggios to their longform hybrid krautrock/ garage rock jams — new additions to a fuzzed-out, buzzed-out catalog that always leaves the listener wondering where the next record might go. But, forced out of their natural element by Covid, band members recorded parts alone at home and assembled everything online, as was la voie du jour in the halcyon days of lockdown. “Omnium Gatherum,” begun in June of 2021, found them able to convene for the first time in 1 1/2 years at their new studio, Gizz HQ, outside Melbourne. (The city went back into lockdown soon after.) Bandmates have said they were giddy with the musical rush created by their physical reunion. “Omnium Gatherum,” Latin for “a collection of miscellaneous people or things,” crackles with the energy of all that deferred in-person brainstorming and pent-up collaboration, finally unleashed. The album is a liberating callback that reaffirms who the band are and how they do what they do. For good measure KGLW have also dropped the following this year: “Made In Timeland,” a two-track, 30-minute studio album originally conceived as festival intermission music; a remix album, “Butterfly 3001”; and a live album, “Live in Brisbane ’21.” Lest you think they’re slacking. King Gizzard and the Lizard Wizard play 7pm Saturday June 18 at Space Park Miami. kinggizzardandthelizardwizard.com