PUREHONEY 131

9/1 Friday GNARCISSISTSBUMBLEFEST (NY), DUSTED (Nova Scotia), GAL MUSETTE (LA), AL LOVER’S WORLD PARTY (DJ SET), KAIROS CREATURE CLUB (JAX), DUCATS (JAX), Hope, The Dewars, Sweet Bronco, Lindsey Mills, Thorns, Zoo Peculiar, Sumsun, Renan Nerone Trio, Locad, Fat Tony, Gwen Karabensh, Babygorilla, The.Illustrious.13, Meaux, 8Path, Medley, Eden In The Dark

9/2 Saturday BUMBLEFEST

DEATH VALLEY GIRLS (LA), AL LOVER (LA), GAL MUSETTE (LA), CHEW (ATL), RICKOLUS (JAX), Flower Child Slumber Party, Sagittarius Aquarius, Rude Television, Zippur, The Dreambows, Emily Blaylock, Brett Staska, Stony Vibez, Perry Strait Band, Broot Mccoy & DJ Matt Kelly, Luci Lind, Sko Gudino & Amigos, TC Silk, Supa Dave, Da Faktion Records & Friends, Jealous Lovers

9/1

NORTON MUSEUM: Art After Dark ft Greg Diamond Trio

REVOLUTION LIVE: Mersiv

THE PEACH: Marty Martin Gallery Show

PROPAGANDA: Implosive Disgorgence, Bottomfeeders, Murder Afloat

CRAZY UNCLE MIKES: The Flyers

9/2

REVOLUTION LIVE: Petty Hearts, Touch & Go

BAR NANCY: Ryan Bauta

THE PEACH: Art Walk

PROPAGANDA: End of Summer Goth Party, DJ Jason

CRAZY UNCLE MIKES: Lance Lopez & Shawn Davis Bands

9/3

RESPECTABLE STREET: 90’s vs 00’s Cheesy Homecoming

ITHINK AMP: Sublime with Rome, Slightly Stoopid, The Movement, Atmosphere

ARTS GARAGE: Shaw Davis & The Black Ties

CRAZY UNCLE MIKES: Wolfpack

9/6

THE PEACH: Artist Talk & Critique

BAR NANCY : Strange Bass

ARTS GARAGE: Comedy Night

CRAZY UNCLE MIKES: Sierra Lane Jam Invitational

9/7

BAR NANCY: Hardcore 4 Punx

CRAZY UNCLE MIKES: Brenda Johnson Band

9/8

MIAMI BEACH BANDSHELL: Tangerine

Dream, Night Foundation

GRAMPS: Fidlar, Bed Bug Guru

REVOLUTION LIVE: Kiss America, Cult Revolution

RESOURCE DEPOT: UpCycle Day

NORTON MUSEUM: Art After Dark ft Low Ground Band

PROPAGANDA: Scattered Light, Billy Doom is Dead, The Shake

BAR NANCY: Loui Daniels

CRAZY UNCLE MIKES: Noise Pollution: An ACDC Experience Benefitting The CMT Research Foundation

MOCA: Lonnie Holley (Live Performance)

9/9

ITHINK AMP: Odesza

REVOLUTION LIVE: Taco & Margarita Fest, Black Market Goth Homecoming

MIAMI BEACH BANDSHELL: Brazilian Film Festival ft Emicida

RESOURCE DEPOT: UpCycle Day

PROPAGANDA: Zoo Peculiar CD Release

BAR NANCY: The Kitchen Club

ARTS GARAGE: Yacht Rock

CRAZY UNCLE MIKES: Road To Nowhere

MOCA: Lonnie Holley (Workshop)

9/10

RESPECTABLE STREET: The Mission UK, The Chameleons, Theatre of Hate

REVOLUTION LIVE: Chloe

ARTS GARAGE: Nestor Torres

9/12

REVOLUTION LIVE: Dance Gavin Dance, Sim, Rain City Drive, Within Destruction

MIAMI BEACH BANDSHELL: Booder is Back

9/13

THE PEACH: Artist Talk & Critique

BAR NANCY: Camp Blu , Dj. Menendez

PROPAGANDA: Bragging Rights

ARTS GARAGE: All Arts Open Mic

CRAZY UNCLE MIKES: Rob Benton

9/14

REVOLUTION LIVE: Hyperglow

BAR NANCY: Stereo Joule

CRAZY UNCLE MIKES: Palm Beach Country

9/15

NORTON MUSEUM: Art After Dark ft Insight Chamber

THE PEACH: Radiant Sunflower Paint & Sip

PROPAGANDA: Killed by Florida, Black Denim Rage, Manneequinkind

BOYNTON BEACH ART DISTRICT: Art Walk –Caliente, DJ Truck CRAZY UNCLE MIKES: Afterimage

9/16

THE PEACH: Peach Fest! 2 Year Anniversary Party ft Seafoam Walls, Dirtbike, vendors & much more!

CULTURE ROOM: Matt & Kim, Babe Haven

GRAMPS: MOLD!, Wrong, Palomino

Blond, Frogs Show Mercy

MTN SPACE: Ates Isildak: Pantransitions, Night Foundation

MIAMI BEACH BANDSHELL: Salsa Festival

REVOLUTION LIVE: Shrek Rave

PROPAGANDA: Nights in Necropolis : Grave Rave II w Romani, DJ Lady Reaper, Demon Glitch

ITHINK AMP: Avenged Sevenfold

BAR NANCY: Nil Lara

ARTS GARAGE: The Smoogies

CRAZY UNCLE MIKES: Led Zep Live

9/20

THE PEACH: Artist Talk & Critique

GRAMPS: Militarie Gun, Scowl

CRAZY UNCLE MIKES: Drifting Roots, Rising Lions

9/21

REVOLUTION LIVE: Guttermouth, 1983, Billy Doom is Dead, Young Cassidy

MIAMI BEACH BANDSHELL: Son Rompe Pera

BAR NANCY: Ricky Valido

CRAZY UNCLE MIKES: The Flyers

9/22

REVOLUTION LIVE: Nothing More, Dead Poet Society, Hyro the Hero, Post Profit

NORTON MUSEUM: Art After Dark ft Vivi & Friends

PROPAGANDA: Sustenance, Grasping the Shadow

BAR NANCY: Juanabe

9/23

REVOLUTION LIVE: Boys Like Girls, State Champs, Four Years Strong, Lolo

THE PEACH: Celebrating Artists

POMPANO AMP: Brett Young, Jake Scott, Griffen Palmer

PROPAGANDA: Emo Night

ARTS GARAGE: Bold City Classics

CRAZY UNCLE MIKES: The Smokin Aces

9/24

MIAMI BEACH BANDSHELL: Original Wailers

REVOLUTION LIVE: Eric Nam

ARTS GARAGE: The Frank Bang 5

9/25

REVOLUTION LIVE: Nothing Nowhere, SeeYouSpaceCowboy, Static Dress, UnityTX

RESPECTABLE STREET: Terror, Vein.fm, Domain, Xcelerate

9/26

REVOLUTION LIVE: Tobi Lou

RESPECTABLE STREET: Invent Animate, Void Vision, Thrown, Aviana

ARTS GARAGE: Jam Session

9/27

RESPECTABLE STREET: Paleface, Enterprise Earth

THE PEACH: Artist Talk & Critique

THE PARKER: Daughtry Acoustic

PROPAGANDA: Wub Wednesday

CRAZY UNCLE MIKES: Joey Calderaio, Lot 49

9/29

REVOLUTION LIVE: Death Grips

MIAMI BEACH BANDSHELL: Snatam Kaur

NORTON MUSEUM: Art After Dark ft Jon

Lehrer Dance

PROPAGANDA: Zaape Cats, Toy Gun Club

ITHINK AMP: Eric Church

BAR NANCY: Freddie & The Flamingos

CRAZY UNCLE MIKES: Unlimited Devotion

9/30

MIAMI BEACH BANDSHELL: Kany Garcia

BROWARD CENTER: Anavitoria

THE GROUND: The Hails, Cannibal Kids

ARTS GARAGE: Garage Queens

FUNK & FLOW: Yidfest 2023: Kosha Dillz, Tina B., Lea Kalisch, schnoz, shikse

TANGERINE DREAM

by TIM MOFFATT

Band names are a strange necessity of organization that can lead musicians in unexpected directions. How does any band aptly summarize its sound in just a word or two or three? If the music is a mix of psychedelic, krautrock and electronica designed to evoke cinematic visions, a name like Tangerine Dream surely fits.

Formed in the late 1960s, Tangerine Dream has consistently chased the promise of technology in the detail of musical composition, and that has not only put them at the forefront.of most genres, it’s catapulted them into a genre of their own. This focus on electronic competency and the band’s music, mainly being free of vocals, gave hem opportunities to score movies such as “Legend,” “Near Dark,” “Risky Business,” “Firestarter” and “Street Hawk,” making the group a staple in 1980s movie scores.

The group has had a near-constant revolving door of musicians, with Edgar Froese being the lone original member until he died in 2015. However, the group has continued toiling under the tutelage of Froese’s chosen successor and bandmate since 2005, Thorsten Quaeschning. Quaeschning is joined by violinist Hoshiko Yamane and electronic musician Ulrich Schnauss who have been making new music since 2017’s “Quantum Gate” and released “Raum” in February of 2022. The band has been performing these songs live on their “From Virgin to Quantum Years 2022” tour and do not appear — despite having just celebrated 50 years as a band — to be slowing the pace.

Tangerine Dream is more a hive mind than a band. Lineups come and go, but when the music being made is the apotheosis of a specific type of sound, well, your group just becomes a noun (and lately a reference to the very Tangerine-tinted theme music for Netflix’s “Stranger Things.”) That’s a feat no band can guarantee at the outset; only the best at executing their vision over time become a genre or subgenre unto themselves. Tangerine Dream, in name and sound, inhabit our dreams as the score to video gaming, film and television embedded in our collective psyche.

Arrive on time... Night Foundation will be the opener! The human being behind the curtain, Dick Vergez, tells PureHoney: “One of the biggest inspirations initially behind my project Night Foundation is the Kosmische musik of Tangerine Dream, so to be opening for them is well... a dream! I will be joined by the legendary Little Annie for a track or two at the tail end of the live set.

Tangerine Dream play with Night Foundation at the Miami Beach Bandshell, 8pm Friday, September 8. tangerinedreammusic.com

FIDLAR

by TIM MOFFATT

In the era of nepo babies, it would be great to say that for every Kardashian there’s a Robert Downey, Jr., but no. It’s no wonder people don’t typically like nepo babies for trading on familial connections in fields where less fortunate talents toil in obscurity or just wash out.

That said, it’s hard to grow up surrounded by awesome people and not have it rub off. Elvis and Max Kuehn, sons of SoCal punk legends T.S.O.L. keyboardist Greg Kuehn joined Zac Carper, son of famed surfboard designer John Carper, to form FIDLAR with bassist Brandon Schwartzel. And it’s a good thing that FIDLAR have united under the acronym for Fuck It Dude, Life’s A Risk — a skateboarding mantra to live by, and a good name for a band playing angry punk/surf/skate rock that cares not a whit about the opinions of others.

Every member of FIDLAR has side projects and other bands that also express their aggro feelings and artistic tendencies. “It’s weird when we get labeled these skaterpartier-slacker punk kids,” Carper said in a record label bio. “We skated, we partied a lot, but we also worked our asses off.”

We should be thankful FIDLAR got a leg up in a world where everything is complicated, and genius can often go unrecognized. The drive these people have could be considered sociopathic in any other capacity. Could you imagine what would happen with that weaponized focus and intensity? That’s how an unrelenting world makes dictators.

So instead let’s bask in the afterglow of FIDLAR’s newest output, the “That’s Life” EP and the “Centipede” EP, not to mention the singles “Don’t Fuck With Us Vol. 2” and “Nookie,” all of which were released this year. A prolific crew of nepo-babies who have surpassed the productivity of their predecessors, and have certainly become a formidable entity on their own, FIDLAR are a lot of things but lost for ideas they are not.

FIDLAR and bed bug guru play Wednesday, September 8pm at Gramps in Miami. fidlar.komi.io

ODESZA

by AMANDA E. MOORE

One band, two souls working in euphoric sync, ODESZA have done nothing less than aim to recreate electronic music in their own cinematic image. But to hear it from them in a new documentary, that was never the plan: “We didn’t start making music because we saw ourselves standing on stage. We started making music because of the way we connect.”

Released in July, “The Last Goodbye Cinematic Experience” is a concert film and origin story co-produced by bandmates Harrison Mills and Clayton Knight and described in the trailer as ODESZA’s own truth: “What made our sound our sound, what made us us.”

They met in college in the Pacific Northwest just over a decade ago. Ever since, Mills and Knight — Catacombkid and BeachesBeaches, respectively — have kept the spark of their seemingly instant, electric creative connection very much alive. Indie-electronica experimentalists, translating their exploratory selves into blissful chillwave melodies, they are four albums and numerous world tours (and three Grammy nominations) into their journey.

You’d be forgiven for wondering if they’re done. Just last year ODESZA emerged from an extended touring break — four years — with an album called “The Last Goodbye” and new concert dates. And the retrospective film. It includes clips of home movies and nostalgic family moments. Like its companion album, it’s an intimate contemplation, widely shared — ODESZA baring themselves to fans once more.

There’s no secret ingredient to the duo’s indietronica sound other than its organic authenticity and originality. In past interviews, they have credited their success to a carefree attitude making their first album, 2012’s “Summer’s Gone,” for example, as a last hurrah in college before life in the real world. But longtime fans know that ODESZA’s durability lies in how they capture and immortalize the warmth of human connection and the primacy of love through music. An ODESZA concert is an immersive, rapturous experience all its own — and one hopefully available in the future, since the band has publicly stated that this is not literally a last goodbye: “more is still to come … ”

ODESZA perform 6:30pm Saturday, September 9 at iTHINK Financial Amphitheatre in West Palm Beach. odesza.com

MATT & KIM

by OLIVIA FELDMAN

When the opening keyboard notes of “Daylight,” by indie duo Matt and Kim, pop from a speaker, you know exactly what song it is and what you’re in for: It’s a wild, lighthearted romp of just under three minutes that even today, 14 years later, still has audiences screaming the lyrics.

The musical and romantic partnership of Matt Johnson and Kim Schifino began at art school (Pratt University in New York in the early 2000s). With no prior musical experience, they began playing intimate house shows in Brooklyn after learning to play drums (Schifino) and keyboards (Johnson).

After a couple of albums, they broke through with 2009’s “Grand,” full of danceable bops like “Daylight” and ballads like “Turn This Boat Around.” They relied on home production, recording in Johnson’s Vermont childhood bedroom. In the end, they managed to meld the flair of indie pop with the passionate energy of pop-punk and hip-hop-like beats you can bang your head to.

It’s one thing to hear their songs on the radio or through Bluetooth, but it’s another to witness Matt and Kim on stage in all their happiness and raging glory. They’ve become that party band that you don’t want to miss. For just two people, they don’t need much to put on a hell of a show. Johnson whines on vocals while artfully slamming keys, and Schifino enthusiastically pounds on her drum kit, both of them beaming and sharing witty commentary in between tracks.

In their heyday, Matt and Kim reflected the emotions of Millennials entering young adulthood, unsure of where to turn and how to release their frustrations, not unlike blink-182 and Green Day singing to preteens and high schoolers about feeling rebellious and misunderstood. Maybe we’re a little older and have things more together, but Johnson and Schifino still make music for us. We can reminisce while hearing the lyrics to “Good Ol’ Fashion Nightmare” (“Riding trains to end of lines / Still we’ve got nothin’ but time / The skyline looks brighter tonight / Let’s go smash out every light”) and celebrate.

Matt and Kim perform 7:30pm Saturday, September 16 at Culture Room in Fort Lauderdale. mattandkim.com

THE CHAMELEONS

by DAVID ROLLAND

Just like their namesakes, The Chameleons have hid in plain sight for the past four decades. Formed in the UK in 1981, the band conjured moody atmospherics reminiscent of peers such as Echo & the Bunnymen or The Psychedelic Furs. But the Chameleons never had breakout singles like Echo’s ”The Killing Moon” or the Furs’ “Pretty in Pink” to land them on MTV or American radio. And so they remained that cool cult band you might hear on a Goth night or a college station.

But the next generation of musicians were listening: British bands like Oasis and The Verve and Americans like Interpol and The Smashing Pumpkins have cited them as influences. More than forty years after their founding, The Chameleons are taking a long victory lap, playing their spooky music on a tour that takes them to South Florida.

Original drummer John Lever died in 2017, but founding singer/bassist Mark Burgess and guitarist Reg Smithies are in the touring four piece line-up, making this a legitimate reunion. Burgess has a good context of where The Chameleons stand historically — as a post-punk band rather than a rock band. “I think the last rock ‘n’ roll band was the Sex Pistols because I think rock ‘n’ roll was really, chiefly about stirring the pot and giving youthful rebellion a voice and an identity, and I think that kind of ended with the Pistols,” Burgess told the Arizona Daily Sun in a 2022 interview.

Burgess also said then that his band’s music is more introspective than rebellious, adding, “People [are] telling me that they needed what we gave them that night. They needed it for their soul … and those are the reactions that we’ve consistently had, all the way through on this tour.

Burgess has several solo records and side projects to his credit, but as he told The Big Takeover back in 2019, The Chameleons is “going to be the strongest thing that I’ve ever been part of.”

The Mission UK, The Chameleons and Theatre of Hate play 7pm Sunday, September 10 at Respectable Street in West Palm Beach. chameleonsmark.com

mARK BURGESS

Vintage to participate in their “Polaroid Pop relationship and thus kicked off a serious exploration

“I was invited to be involved before I had PureHoney. “I bought a camera, threw a was a bit of a Warhol Factory vibe going on. make-up for everyone else. My only vision that I wanted the photos to be up-close, bright, and shiny.”

The work — intimate in the immediacy of instant film is hypnotic and reminiscent of a bygone era of cinema. His prints, whether staged or recall production stills of underground guerilla filmmakers of yesteryear. Isildak’s vision can compared to the nostalgia palette of filmmaker Panos Cosmatos but with the good weirdness music videos that stick with you over the years.

In his solo show at mtn space, “Ates Isildak: Pantransitions,” Ates Isildak juxtaposes the hefty weight of images shot with a Polaroid camera alongside digital prints that experiment manipulations of color.

The work, inspired by gender identity exploration, is the result of introspection after hadn’t really asked myself certain questions in a internally exploring own has continued, anything Separation thematically lineage, Turkey as secularity government. Now work, a sense overshadowed, knit where

“I have noticed that people respond to camera and the photos in such a reverential way,” he says. “If I’m at a party or event I ask someone if I can take their photo with Polaroid camera, it’s such a different response that I get compared to when I have my digital camera with me. I leave a night of Polaroid shooting with 8-16 prints, opposed to 200-300 digital shots.”

Also on display will be his film collaboration artists Roger Jackson, Kevin Laurore and Dorsainvil, ”Fabulous Muscles,” an unsettling view of beautiful people on display through the lens of a sleek product video. Isildak hopes it creates a positive dialogue regarding power artists wield over the idolatry of beauty.

Ates Isildak: Pantransitions at mtn space Lake Worth from Saturday, September 16 through a performance by Night Foundation, artist strangewaverecords.com

JACOB’S LADDER

ATES ISILDAK

by ABEL FOLGAR

Art is often the byproduct of turbulence. For local artist/musician Ates Isildak of Sagittarius Aquarius and previously The Band in Heaven, turbulence bookmarks his work. A 2013 New Year’s Eve theft of his guitar gear prompted a transition into video work. More recently, an invite by Kismet

Up” coincided with the end of a long-term exploration of the Polaroid as medium.

had ever even taken a Polaroid,” Isildak tells small party at a friend’s studio, and there on. Everyone was just dressing up or doing was bright, instant bygone not, guerilla can be filmmaker weirdness of years.

Isildak: hefty camera with

identity after a relationship that ended. “I realized I questions about sex, sexuality, identity, or expression long time,” he says. “Exploring all of that internally I was drawn to people that were also exploring those ideas in their own lives, in their art. So that started it all, and that thread continued, though it’s mutating to explore anything that feels like ‘otherness.’”

Separation of church and state is also thematically on display as Isildak, of Turkish lineage, sees parallels between the regression of Turkey and where the U.S. is potentially headed secularity gives way to religious incursion into government.

that he’s incorporated Polaroid film into his work, Isildak has gained – or rather regained –sense of artistry that digital photography has overshadowed, and gained access to closecircles like the Submission fetish parties where he frequently shoots.

the reverential and with my response digital Polaroid 200-300 with Akia unsettling through hopes the beauty.

space in through November 4. Opening night features artist Richard Vergez’s electronic project.

NIGhT FOUNDATION

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SIENNA O’ROURKE

by KELLI BODLE

“Maybe we have opened Pandora’s box, or maybe we’re one step closer to fully automated luxury communism.” These are some thoughts from Sienna O’Rourke, who makes AI-generated art under the handle Planet Fantastique on Instagram. A hat tip to the 1973 film “Fantastic Planet,” O’Rourke’s world is a surreal mix of sci-fi and retro-futurism. Leveraging different software and AI models such as Midjourney, Stable Diffusion and Photoshop, O’Rourke’s aesthetic is pop pastels, sexy astronauts with ’60s coiffed ‘dos posing in a retro utopia. The imagery is immediately recognizable as nostalgic, yet still feels current. To get it, this month’s PureHoney featured artist says to think of the “post-war era of the notion of a utopian future dominated by pop culture. Think: ‘The Jetsons’ and ‘Star Trek.’ We are living in an age that a lot of these pieces reference, but our society is far from utopian. We have seen plenty of amazing advancements, but very few have that magical quality captured in the retro-futuristic vision from the ‘60s.”

London-based O’Rourke works primarily in illustration and design. Her embrace of AI “has meant that a lot of the real-world concepts I’ve been dreaming of can be visualized without needing to mobilize a large team or commandeer a significant budget. I think it’s a really great avenue to do exploratory work as an artist.”

She is aware of the heated debate taking place in the art world right now concerning the mass-market use of AI. “I can totally understand the skepticism and even fear surrounding the technology,” she says, “and I think it is really important for the people utilizing it to do so in good faith. As someone who works in the creative field, this year has had a lot of scary headlines about robots replacing us, the death of art, and so on.

“So, I really wanted to engage with the technology myself and see if I could use it as a tool to further my practice, rather than view it as a threat,” O’Rourke says. “AI can’t create in a vacuum, and although anyone can make images with ease, it still takes creativity and artistic vision to produce meaningful work. I see AI as a complement to more traditional art forms and a tool for the artist to use, and within my own work I try to focus on creating something that might not be possible within traditional constraints.”

O’Rourke uses AI more as a launching-off point rather than a substitution for the artistic process. “I can start putting ideas together on my phone while I’m on the train or out walking the dog,” she says. “I tend to start little threads of inspiration, generating an image or two for each while I’m on the go, and then at the end of the week, when I have time to devote to this project I will expand on each of those.

She will also use it to render digital backgrounds that would otherwise take hours to create, she says, adding. “I know that there are artists training AI models with their own work in order to be able to pitch for commercial clients. I also think we will start to see some really interesting film projects getting greenlit, that may not have obtained funding without a strong visual component in the pitching phase.”

A film buff herself, her top five favorite films for design inspiration are: “What a Way To Go” (1964), “The Holy Mountain” (1973), “Baraka” (1992), “Suspiria” (1977) and “The Fifth Element” (1997). In terms of other artists using AI to help facilitate their visions, she said, “You absolutely don’t need a strong background in design to use AI models to create art, but as with any art form, if you don’t have a point of view or an eye for the aesthetics then you might not create anything that is particularly good, interesting, or unique.”

Planet Fantastique has 130,000 followers and growing on Instagram, and O’Rourke sells posters of the creations. “From the perspective of an artist working with the medium, it is exciting and refreshing to work with a technology that is advancing at pace,” she says, “but as a human, of course, it is concerning.”

Sienna O’Rourke is at @planet_fantastique | planetfantastique.com

MOLD

by TIM MOFFATT

For all of the difficulties that South Florida can pose to local musicians trying to muster a scene (if you know, you know), we’ve managed to serve as a haven for musical immigrants. The Cuban expats of Miami Sound Machine provided a template, and paved the way for a Miamibased Latin music industry with talent resettling here from all over the Spanish-speaking world.

But to focus on more recent examples from outside mega-pop, psych rockers Zeta, originally from Venezuela, found a home in Miami for a critical few years beginning in 2015 that helped them build a following that has outlasted their local residency. Couple the region’s openness to newcomers with its ability to re-invent itself every decade or so, and we have the basis for a scene that supports a band like MOLD!

MOLD! are  Carlo Barbacci on guitar and synth, sharing vocal duties with Bronto Montano on bass and Frankie Lujan on drums. Barbacci and Montano moved to Miami from Peru in 2019 and quickly assimilated. By 2021 they had their fully formed band and the first MOLD! album, “NO SILENCE!” Since emerging from the Magic City chrysalis, they’ve been nominated as the Best Emerging Act in Miami New Times for 2021. They’ve embarked on tours with Palomino Blond, played iii Points, Bumblefest, and the Winterland Festival in Jacksonville.

Currently, MOLD! have released the third single, “CHOOSE TO BE CONTROLLED!,” off of their new album to be released in September. They once again worked with Ryan Haft, the sound engineer for Wrong, Torche and Jacuzzi Boys, to record and co-produce the new album. “The song is about carving our own path in a world full of powerful people trying to control us,” says Barbacci, “and how some of us choose to be controlled for comfort, while some others find the strength to find freedom just to realize freedom hurts too.”

Speak your truth, gentlemen; you’ve come a long way to get it out to the world. MOLD! with special guests Wrong, Palomino Blond and frogs show mercy play 7pm Saturday, September 16 at Gramps in Miami. mooold.bandcamp.com

GUTTER MOUTH

by ABEL FOLGAR

There’s a German term, innerer schweinehund, that helps explain the under-the-radar endurance of Huntington Beach punkers Guttermouth. That voice — the “inner pig dog” defies normalcy and responsibility, and in Guttermouth’s case keeps the band blasting away.

Not becoming as famous as other California punks of their era has not kept front man Mark Adkins and Co. down. Quite the contrary, it’s secured Guttermouth’s place and reputation for never sacrificing their snotty, who-gives-a-shit attitude. “Angry I am not. Never really have been, what makes you think that?” Adkins replies when asked by PureHoney what has fueled him for 34 years as a bandleader. “I like what I do, it’s that simple. We all must have a job, but I am one of lucky ones.”

Guttermouth’s biting sarcasm surfs atop the changing cultural sensitivities and societal mores that occupy public discourse. Songs like “Lipstick” and “Pee in the Shower” unabashedly tackle taboos, while tracks like “Asshole,” “Derek,” and “Hot Dog To The Head (A Hot Dog Is A Food Not A Penis So Get It Right Or Pay The Price)” showcase their confrontational humor.

Guttermouth live shows likewise don’t short on provocation, with Adkins’ between-song banter often toeing the line between outrageous and offensive. They’ve even run afoul of Canada – Canada! – and famously recused themselves from a Warped Tour when politics bled into the festivities. ”I’m staying out of politics,” Adkins says. “I’ve got much better things to do like absolutely nothing or take a nap.”

Fans can look forward to a treasure trove of tracks including the entirety of 1997’s “Musical Monkey” album played live. ”We are pulling some songs we have never played live before,” Adkins says. And maybe he’ll launch into a tirade on stage about refusing to do certain things, and in doing that give a textbook example of how to be punk when punk has out-punked itself. Whatever. It’ll be whatever the inner pig dog says, and it will be fine.

Guttermouth with 1983, Billy Doom is Dead and Young Cassidy perform 7pm Thursday, Sept. 21 at Revolution Live in Ft. Lauderdale. instagram.com/guttermouthofficial