Miami Horror throw a pool party on All Possible Futures

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As Australia begins its steady descent into winter, it’s heartening to remember there will be warmth and sunshine awaiting us at the end. In the meantime, Miami Horror have taken the reins with their new album delivering 15 songs of easy, breezy sunshiney vibes.

Miami Horror

Miami Horror return to the fold with another dose of sunshine fuelled pop via All Possible Futures.

Despite All Possible Futures being a break up album, it’s anything but bleak. The band’s move to LA in 2012 has clearly influenced their music, and even the most depressing of songs could almost be described as feel-good. If this album was a party, it would be a beachside pool bash, with frozen cocktails by the tray-full, bikinis and palm trees. If you’re harbouring any misgivings as to whether this is intentional, get an earful of (Into the Night) which starts off with the explosion of fireworks and what seems to be the cheers of a crowd watching them.

Beginning with a bang, first track American Dream leaves you with no doubts as to where this album was recorded. Sparkling synths and simple guitars kick off this track, as “American dream / Won’t you listen to yourself” is softly sung over and over, before the tune drops into an electro breakdown. Simple but breezy, this track is a more than ideal warm up to the danceable tracks to come. All Possible Futures covers all the stages of a relationship — from taking your time at the beginning on Real Slow, to lover’s tiffs in Cellophane (So Cruel) and the end of the grieving after a break up on (Happy Without You).

Love Like Mine is where the real killer tracks begin. This album shines when it’s taking cues from eighties Nile Rodgers-esque funk, which it also nails on Out of Sight, which, more than any other song, made me want to get moving. These two songs have a killer combo of electro and funk, which could very easily get a bit naff, but doesn’t, thanks to the sheer amount of fun and energy jammed into the tight four minute packages.

The energy continues through the entire album, even in its darker moments. Cellophane (So Cruel) somehow manages to be morose in vocal, but dynamic and driven in every other area. This is a testament to the excellent production skills of founding member Benjamin Plant. Similarly dark is Stranger, which, while not as catchy as most other tunes on the album manages to almost be a power ballad. And a pretty decent one at that.

While lacking immediately catchy hits like their first album’s Holidays, Miami Horror have put together a cohesive, and more importantly, fun collection of tunes on All Possible Futures. When it comes to fun-riddled electro-pop, these guys know what they’re doing. While 15 tracks may seem like overkill in this age of the short attention span, the group manage to maintain enough interest to actually make you want to listen to the whole thing. Probably while dancing in your winter woolies.

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