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SWEAT // El

Fern

// The Deaf

Poets

// El Mola

Awarehouse

issue

An in depth look @

Telekinetic Walrus

& the Pride of Ions

two thousand

eleven

SPRI

NG

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President/CEO:Jessica Padrón

Marketing:Barbie Cantero

Editor:Maria Gil

Contributing Writers:Eddie Guerra

Miami Mad HatterTania CordobésDj Chuckles

Photography:Piqcheresk - Greg Gibbs

Design:Kristian L. Jerman

No.2

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Southernplayalisticspaceshipmusic p.23 Miami’s own empire records Meet El Fern p.23 Q & A - The Deaf Poets Band on The Run - El Mola

Forward Motion GK’s Unlucky 13 - Urban Rebel Make Music and be well So Much Gear So Much Sound

content(s) Southernplayalisticspaceshipmusic p.06 Miami’s own empire records Meet El Fern p.24 Q & A - The Deaf Poets p.28 Band on The Run - El Mola p.30 Forward Motion GK’s Unlucky 13 - Urban Rebel p.38 Make Music and be well So Much Gear So Much Sound p.46 Miami Dosen’t Suck p.48 Awarehouse p.52 Fuma p.60 Big Kat’s // Now Playing p.60

grungekat // issue no.2

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keeps it grungy

p.16

p.34 p.42

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WORD ¬ Eddie Guerra

TelekineTic Walrus & THe PriDe OF iOns

A popular mathematical theorem posits that, given an infinite amount of time, a chimpanzee hitting keys on a typewriter would eventually churn out any given piece of text or literature, even something as dense and complex as the complete works of William Shakespeare. And while I realize that the chimpanzee is simply a

representation of an abstract device of randomization, if the same principle was applied to said primate and a recording studio, I still have my doubts that it would ever produce anything even remotely close to Telekinetic Walrus’ eponymous full-length album release. SEVEN LIGHT YEARS BELOW SEA LEVEL WE GO My introduction to Telekinetic Walrus and the Pride of Ions was a very rushed one. The path was a short one with few stops, namely: editorial request, Media share album download, expedited aural ingestion of said download, and planned sit down. And suddenly, I found myself in a dimly lit Little Haiti parking lot, adjacent to an out-of-the-way car reupholstering shop, surrounded by cars of remarkable vintage and questionable owners. The scene, while mildly intimidating, was not without its charm. After all, along the wall of the complex, I was greeted by a large, green, bright neon flamingo. I traced its path downward, spotted a door and immediately

SouthernplayaliSticSpaceShipmuzik

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knew I had found my destination. Sometimes, you just know.

Fittingly, the first person I was greeted by was Jake Fletcher, one of three founding members, and the main lyricist of the group. His handshake was firm and his demeanor was incredibly self assured. I know for a fact that he was never intimidated by that dark parking lot. Funny enough, I was somewhat casually ignored by a group of five other people upon entering the warehouse. I did not interpret this as rude, but simply assumed that strangers passed through their creative hub regularly, and my arrival was no reason to drop what they were doing. Speaking of which, they all seemed to be engaged in something a lot more interesting than talking to me as I arrived.

We all gathered around a large wooden table, sitting on a series of sectional couches, as I ham-fistedly pulled out my digital recorder and legal note pad. I inquired if it was alright if I recorded the interview. Jake pointed out that it wasn’t a problem, as they are, by trade, recording artists. I made it a point to do my best to not ask any more dumb questions. All bullshit aside, I had the pleasure of meeting Jake, as well as Aleah McGhee (bassoonist, other founding member and self described “part cyborg”), Wyatt Meagher (producer, third founding member), Andrew Parker (in house graphic designer, resident music guru), Corrine Stevie (vocalist), Charlie Winkler (DJ, sound engineer) and Jessica Hruska, who knows everything about the band and does everything short of actually being in the group. I sat for a second, and realized I knew next to nothing about the people in front of me. Lucky

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for me, they were all too willing to get me familiar.

ATLiens I don’t have a clue what a prime primordial walrus is. You probably don’t either. But that and other similarly sounding creatures are mentioned in a very convoluted story that I found online while searching for clues to the birth of the band, and their name. I do know that the whole thing sounds cool. I imagine they think so too. As far as stories of a less apocryphal nature go, the Telekinetic Walrus connection happened less in the annals of time and space and more on the roads connecting Miami, Florida to Atlanta, Georgia. Jake, originally from Atlanta, made his way down to the University of Miami to study music, focusing on classical voice and graduating in May of this year. Wyatt, also hailing from Atlanta, became a bit of a nomad, traveling to Miami and back again frequently while working on music projects before deciding to call Miami his home in August of 2009. Aleah, also at UM, directing the student run radio station among other things, formed the third piece, and before long, they had a booked show, high expectations and no name to call themselves. A brainstorming session and some juxtaposing led to “Telekinetic Walrus and the Pride of Ions”. It’s made very clear early on that the majority of what they do

as a band, including naming themselves, is done without consideration for its possible reception by others.

Often groups reminisce about meeting at school, or at a jam session of a mutual acquaintance. Charlie Winkler doesn’t exactly know what that type of meeting feels like. He met with TW at a Halloween party, where a mutual respect of their crafts and a need for a mixer led to a relationship that started off bumpy but eventually smoothed out; Wyatt remembers very lucidly. “He’d be on his Kaoss Pad, making all these noises during the set, and Jake would give him this look, like “Stop that shit!”, and when we were done I told him, That was cool. Keep doing that. Jake’s gonna get mad, but just keep going.” This leads to laughter from the rest and a knowing nod from Jake.

Corrine’s story also comes via Wyatt, who simply explains that while picking up a friend from the airport, he encountered Corrine, who also needed a ride. A car ride with a perfect stranger provides the perfect set of circumstances to discuss music, find that you both make music, and determine that making music together is an unavoidable conclusion. Corrine became a member of the band whether she wanted to or not: “We just recorded a few tracks, and then I came back after going to Atlanta for a while,

and they come up to me and say “Hey, check out these songs you’re on,” Corrine tells me in between laughs. “IT JUST KINDA HAPPENED” The above is Aleah’s response to how their stylistic approach manifested itself. And really, it seems just as valid a response as Jake’s suggestion for what to label their brand of music. “Mystical psychotropic electronic hypnotecha”, he suggests in a mild deadpan, reciting it as if he’s been asked this question hundreds of times prior. Trying to determine what their musical influences were was a thankless task, in that the answers were so varied across the board, that the only thing that was certain was that they had a deep rooted appreciation for all things music. I suggested a few influences that I caught in their music, and each seemed to resonate positively with the group. The Mars Volta got a bunch of nods. The mention of Nine Inch Nails made Aleah light up a bit. Flying Lotus and Bassnectar got gestures of approval as well; which makes the long winded description that Jake suggested, or the shoulder shrug explanation that Aleah gave me all the more appropriate.

It would be fruitless to describe the description of their music without actually, well…describing it. The album is a densely layered work, with the foundation of many of

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their songs set in a rhythmic, repetitive bass. Corrine’s lyrics are peppered throughout, and seem to be delivered effortlessly, albeit with force. This is in stark contrast to Jake’s vocal contributions, which are often slathered with a plethora of filters and effects, and are delivered as short, scathing mantras, in the form of harsh, chanted couplets. The result is a monolithic, cerebral soundscape that at times can border on abrasive, but rewards those who brave multiple listens.

The production aspect of the record was also touched on, and again, despite their vast knowledge of music (Immortal Technique and Spanish polka were discussed in the same conversation), none of them could put their finger on a producer who makes anything that sounds like Wyatt’s brand of mayhem. Personally, several of the songs have a very dystopian, industrial feel that bring to mind the best qualities of Trent Reznor’s solo work and El-P during his work with New York’s beloved Cannibal Ox.

Wyatt does his best to explain their reluctances to spew out names and labels. “We don’t try to categorize ourselves, because when you do, you put yourself in a box, and you are limited to a certain sound. We go in the studio and we make some tracks. That’s how we do it”

It doesn’t end there. You should see Jake and Wyatt light up whenever they are given the opportunity to discuss hometown heroes, Outkast. Jake in particular finds many similarities between his approach and that of the duo from East Point, particularly Andre 3000. “I’m all about taking risks, too”, he explains. From a lyrical standpoint, Andre has vastly improved the technical aspects of his writing; something that Jake explains takes place daily, through an organic, yet academically precise process.

“There’s always chemistry when we write, but at the same time I’m looking at the whole thing; cadence, pitch, timbre, everything, trying to make it better.” Jake explains. Wyatt feels the same way on the production end. “We don’t ever go into the studio saying ‘let’s make a song that sounds like this band.’ We all feed off each other and the energy in the room. When you listen to the album, you hear a variety of sounds, but really, you can still tell its Telekinetic Walrus”

THE LIVE SHOW: IT’S JUST THAT In today’s era of readily available technology, anyone with an amp and a laptop can book a show at Churchill’s and take the opportunity to try to not bore a crowd to tears. Telekinetic Walrus is well

aware of this fact, and therein lies a dilemma. Their live show is elaborate, energetic and theatrical. These same elements can also lead people away. They are in no shape or form interested in compromising their music for the sake of accessibility, however.

I mention Gwar to the group, and Jake seems to know where I’m going with the reference. “We don’t want to be as gory as Gwar. But their live show is out of sight. We want to be up to that caliber, or perhaps several thousand calibers above that.” “Yeah, we’re not DJ’s, up there with just a laptop, hitting play,” Charlie states. “We’re doing a lot of these song arrangements live, on the fly, which might be hard for people to appreciate sometimes.” Think Kanye at this year’s VMA’s, except without the ridiculous chain.

Wyatt doesn’t miss a beat. “I love to mess with intros, and do all sorts of weird things to fuck with them. Then, when I make the song come in, the people that get it are like ‘Awww, yeahh’.” Words in print can’t possibly explain to you how cool he made that sound. I ask them if these qualities make their live show less accessible, and as such, limit what they can do when performing. “We do whatever the fuck we please.” Jake

“There’s AlWAys chemIsTry When We WrITe, buT AT The sAme TIme I’m lookIng AT The Whole ThIng; cAdence, PITch, TImbre, everyThIng, TryIng To mAke IT beTTer.”

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says, in a very matter of fact manner. “A better tactic instead of molding your music to sound a certain way, is to make more music, to have more variety.” “The reception when people hear us for the first time goes both ways. Some people love it, some people hate it,” Aleah chimes in. I mention that Miami is by nature a fickle place, particularly in what can be considered a weak music scene. Aleah disagrees. “It’s a really good city for us to be in right now. We don’t have to make a lot of compromises. With Ultra, Art Basel, Winter

Music Conference going on down here, there are a lot of opportunities to get involved and be heard.” Eventually, with being heard, comes being seen. Again, they don’t have a problem with this either.

In the tone of a savvy businessman, Jake explains, “You’re selling experiences. I’ve found people that don’t like [the music], but still stay and watch us. Even if they don’t like

it, they’re still being visually entertained”. This is where Parker and Corrine smear their fingerprints all over the entire thing. What began as Corrine simply using some humans as canvases turned into a prime example of artist and fan interaction.

“At first I just painted my own face. Then I did a couple of other people. After that, people really got into it.”, she says. It has since turned into a widespread phenomenon, with a slew of fans branding themselves “The Bioluminescent Plankton” coming to

shows in glow paint, wearing costumes and generally tearing the club up. Parker’s approach is more subtle, as he provides the visuals and trippy projection images that go on for the duration of any given TW performance. And if the glow paint and videos becoming viewed as a crutch or gimmick is a concern, it certainly isn’t a serious one. Corrine makes the point that “the

musicianship would never get overlooked in favor of the theatrics.” Jake sums up the groups feelings: “What’s important is that it keeps evolving. Right now, it’s just a great way to get people involved. “ Fascinating enough, the conversation turns strangely reverential, as the (seemingly) modest Parker sits in near silence as the group unleashes a torrent of praise for his design work, his visuals, his dedication and his knowledge on all types of music. Wyatt becomes aware that I wouldn’t be familiar

with any of his work, particularly the abstract work he spent the last few minutes regaling me about. I haven’t seen much outside of the fantastic album cover art, and as far as the performances go, it seems the YouTube videos don’t come close to doing any of them justice. “His designs are sick as fuck!” he assures me.

corrIne mAkes The PoInT ThAT “The musIcIAnshIP Would never geT

overlooked In fAvor of The TheATrIcs.”

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SEE THE SUN RISE MORE THAN IT SETS Your music is bending everything in sight, from rules, to genres, to people’s minds. Your live show is what the young people refer to as “off the hinges”. You’ve got groupies that knowingly refer to themselves as glowing, drifting sea organisms. So what’s holding you and those huge tusks back? (Note, I didn’t actually ask this in this fashion, but bear with me) “Monetary limitations” Charlie says morosely. Most of them have jobs, in a variety of fields, but none of them see those

as permanent positions, but merely side hustles necessary to keep their musical lovechild afloat. Many of them, despite their suit and tie approach to their daytime gigs, appear to have a bohemian lifestyle of sorts. “I know tons of people that would kill to have your lifestyle,” I mention casually. Jake stops just short of correcting me. “It’s not like it’s easy either. Don’t get me wrong, its fun as fuck but we hustle and bustle. There are many nights of no sleep, or little sleep. And then we get up and do it all again. It’s a hustle; it’s a non stop hustle.”

Parker shares the same sentiment. “Most of my hours are spent trying to make money to pay rent. And then I [work with the band], when I should be sleeping.” Additionally, their concept is admittedly a tough one to get into right away. Bur rather than alter their approach, they feel the people will warm up to them, because so many of the elements of their music are things this local scene is already used to. They make a compelling argument. “We are doing something that’s so

“We Are doIng someThIng ThAT’s so dIfferenT buT AT The sAme TIme…mIAmI bAss!”

different but at the same time…MIAMI BASS!” Wyatt emphasizes, noting the bass heavy rhythms and similarities to house music and dubstep. It’s worth mentioning that at this point, a lengthy discussion into the genesis, direction and future of dubstep spawned. This may have continued for some time before Parker, in Zen-like fashion announced “Fuck dubstep. We’re not here to talk about dubstep”. And so it was. Back on the topic of the cerebral but danceable music, Jessica mused “The music is complex but they’re all still club bangers”. Somewhere, Timbaland and Stephen Hawking are nodding their heads in unison. The idea of overcoming the clash of so many different ideas coming from so many directions would also presumably be an issue for a band trying to push the envelope. For the most part, it’s all fun and games with these guys.

“Me and Jake butt heads like a fucking lion and fucking bull sometimes, because we’ve known each other for way too fucking long,” Wyatt chirps. Jake, in a sort of pseudo-offended tone, inquires “Is that how you feel?

Way too long?” Wyatt punctuates perfectly: “Fuck yeah!” Jake clarifies, in between titters of laughter, that “we got better together as a band, and our relationship as friends developed as our bond as musicians developed.”

FORWARD Spending just short of two hours with the Walrus collective, I was left with the idea that despite their natural and organic approach to making music and operating under the bounds of the music industry, there is a very sensible, calculated and academic method that goes with it. This falls in line with their admirable, if not unrealistic ambitions for themselves and the Miami music scene at large. They spoke at length about their talents as individuals and as a collective, and it was difficult for me to not picture them as some sort of assembly of superhero musicians, or at least some sort of Dade County Wu-Tang Clan derivative. Despite our knowledge about how evolution works in a biological sense, they seem bent on speeding up the process artistically and culturally. Somewhere along the times, bassoon toting

multi-armed Walruses will be the standard. Perhaps they’re not part of the right century. But in any case, Darwin and them may have their differences of opinion.

Parker, in monk-like stoicism, leaves me with something to chew on. “A huge part of this is to just try and open people’s eyes. And just try to show them something that pulls them out of their own element for a minute and helps them realize that they’re breathing…and that they’re actually here.” Building on that, Jake takes the baton and runs with it. “We all feel [the music’s] bad ass, therefore it is badass. It doesn’t matter what anyone else feels. It just matters that we all feel that the music moves us and that we want to get on stage and perform it, and hopefully move others, and we feel it represents us.” Parker takes the baton back, and races across the finish line. “And we don’t want to get real jobs, man. Fuck that.”

Amen.

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miami’S oWn

empire recorDS

WORD ¬ Miami Mad Hatter

Just like in the 1995 cult-hit flick with Liv Tyler and Renee Zellweger, Empire Records, Miamians got a cool

indie music shop of their own: SWEAT RECORDS. It opened its doors in March of 2005 and much like in the

movie, the locale is run by a family of employees standing alone against the generic and the franchised.

Lauren, (also known as Lolo) is the leading lady behind Sweat Records, a music store inspired by its ancestor

stores, Other Music (in NYC), and the infamous Waterloo Records of Austin. Lauren was too young to

remember Yesterday & Today Records on Bird Road and 57th Ave, she was barely out of high school when

the CD craze shut it down along with Backstreet Records, but she still says, “Miami denizens with good

taste deserved a music store” and I agree.

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Located right next to one of Miami’s most famous live music staples, Churchill’s Pub, the name “Sweat Records” makes sense. That name actually makes sense for any business in our climate, but it can also mean many other things. An artist almost always has to “sweat” for their art. Anything that is indie will have to “sweat” among its corporate competitors. Hard work and dedication always include “sweat” and as Lauren says during our interview, “I am sweating that new Arcade Fire album so hard!” Even now I find that I am beginning to

“sweat” through all the information that is available at sweatrecordsmiami.com. The website is a hub of information for the local Miami music scene, complete with Facebook page and regular email newsletters. Lolo, a proud and active member of the Miami music scene, says that the scene is “growing by leaps and bounds.” I ask what impact she and SWEAT are having on the local scene and she tells me that, “People continually tell us that they appreciate what we do” and says, “We listen to our customers... plus we throw over one hundred events

a year.” True, I have personally attended some shows at SWEAT in the past. The quaint little music store is also a live music venue part-time. It proudly takes its place among the last of Miami’s “all-ages” spots where local teens can go and watch a live band jam out on a Saturday night. “We also have a vegan coffee bar,” Lauren adds. In the movie Empire Records, the staff was family, so naturally, I ask who the members of the SWEAT family are. “There is Jason Jimenez (one of the guys behind the Thursday night “SHAKE” party at

“I Am sWeATIng ThAT neW ArcAde fIre Album so hArd!”

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overcomIng obsTAcles Is JusT PArT of The Job. hurrIcAne WIlmA desTroyed The fIrsT sWeAT records locATIon And The sTore WAs lATer burglArIzed bAck In 2008. “boTh evenTs sucked,” Vagabond and the Saturday night “Get Some” party at Electric Pickle, who I have known for years. There is also Matt Preira (of Roofless Records) who I met in 2005 when we had our first location. He helped us set up a show with Ian MacKaye of Fugazi’s side project, The Evens. We stayed in touch and when he came back here after college we hired him. My good friend Emile Milgrim (of the label Other Electricities) is moving back from Portland in January too, and she will come on board as well.” The family is small and tightly knit.

“It’s annoying when people are haters and don’t actually DO anything about what they’re complaining about,” Lauren tells me. “Thankfully there are not too many of those around and it’s easy to win those arguments because there truly is so much going on right now,” She says. “I pretty much wanna hug everyone who’s doing shit all the time.” Lauren is always “doing shit” around Miami. In fact, she won a Knight Arts Challenge grant beating over 1,600 applicants, a very impressive feat. She also met Iggy Pop and Ian MacKaye in person. Overcoming obstacles is just part of the job. Hurricane Wilma destroyed the first SWEAT Records location and the store was later burglarized back in 2008. “Both events sucked,” Lauren says. “But we don’t get scared; we just look for ways around whatever is standing in our way.” I ask her what she would like the readers of this article to take from it. “That it’s great to have ideas about how to make things better, but it’s meaningless unless you go out and actually do it. If you put in the work it’s a lot more likely that you’ll get the results you want to see.” She then offers up advice for any local bands that are just starting out. “Make things people can buy beyond CDs get a manager with communication skills, play out until you’ve won over everyone, and never give up.”

She urges all bands out there who read this to sell their CDs and merchandise at SWEAT. “Customers constantly ask for more local music, shirts, etc. and it’s unfortunately that we don’t have as much as we’d like to offer them.” And as for her future SWEAT plans she says, “We are also going to explore into other areas, most likely the next will be some sort of vegan bakery or restaurant.” Visit sweat records online at sweatrecordsmiami.com or pass by the shop and check out some cool new music...

5505 Northeast 2nd AvenueMiami, FL 33137

Rah

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The Shack North is more than a rehearsal studio, a recording studio, or a multi-arts venue for live music, art expos, photo and video showings. It is a communal location where bands and artists are family. The owners have been active in the South Florida Live Music & Art

Scene for almost 21 years, naming the locale after a previous venue they had (which was also called ‘The Shack’ and was located just two rows South of the current Shack). “We like to think of this as a place to bring out the details that make things special and significant for artists” says ‘El Fern’ as he explains The Shack’s Mission to GrungeKat. “We like to know what each band and artist is about. We like to talk and open a platform for things to happen easily. The more you deal with people on multiple levels the more you are able to tap into the direction they are trying to head in.”

meet “el Fern”

– THe keePer OF THe sHack & THe HeaD OF ‘la Familia’

WORDS ¬ The Miami Mad Hatter

Fern considers the bands and artists that record and hang out at The Shack to be family, not clients. “I was in a bad accident that had me in ICU for forty days,” he says. “I was out of The Shack for sixty days. It was several of the bands, the band members themselves, with Rimsky at the helm, that kept the place open and running.” Rimsky is Fern’s right hand. They met working together for a local cable company and later were in the band ‘Humbert’ together. “They did everything. They opened and closed the place, did the basic day to day stuff that kept the place going, that is why I call them family.” I ask Fern who the bands that make up this Shack North family are. He begins to unload a serious list of local big hitters. “RadioBoxer, Rachel Goodrich, Electric Piquete, DJ Spam, Morning Flesh Project, Music is a Weapon,” and those are just some of the twenty or so names he threw at me. I was not able to catch them all. He then adds, “I better stop there.”

Fern is a modern-day hippie of sorts. He confesses that he was influenced by the teachings of Gandhi, Dr. Seuss, Benny Hill, The Beatles, and Fiddler On The Roof. He tells me that he hasn’t checked his

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fern Is A modern-dAy hIPPIe of sorTs. he confesses ThAT he WAs Influenced by The TeAchIngs of gAndhI, dr. seuss, benny hIll, The beATles, And fIddler on The roof.

mailbox in over a year, making his mailman very upset. He also proclaims, “There is a thread that connects all things, humans as well as animate and inanimate objects. That thing is vibration. No matter how quiet we try to be, there is a sound that is made. That sound is felt and it changes things. Not just for the listener, but it changes everything everywhere.” When I ask him what he thinks of the South Florida Music Scene he says, “I’m just glad there are people trying to make music, and art, and films, and dancing. I am glad that there is a way for all of us to get it out there like never before...”

A big thinker, Fern points out to me that possibility is endless in today’s world, “Forget South Florida, its about the world now! It used to be that you needed to get into the local paper to start your trek around

the city, then get in the bigger papers to get around the state. Now we have the capacity to be one gigantic mass of art floating as binary code in a space that doesn’t even exist! Billions of people can see it or hear it and then place a value on it or place no value on it. At the end of the day some will like it and some won’t, but at least you’re getting to them!” I find myself grinning at how this quirky character rationalizes cyberspace. “That means that the person in Sweden has it available to them at the same instant that the person in Hialeah gets it,” he laughs, “And that’s good!”

I then ask what advice he would like to offer up to any local bands or new artists who might read this. He gives me some of the best advice for new artists yet… “My advice is… do NOT think of yourself as a local artist.

It is a thing of the past. It went away years ago. You are an artist. Reach out and create on a universal level, and remember that if your’re homeless then the world is yours.”

Be sure to visit Fern and his family of bands at The Shack North in Hialeah. For contact info, visit them online at http://shacknorth.com and/or http://www.myspace.com/theshacknorth. You can be sure to hear more from “El Fern” through me in future articles, also. This Mad Hatter is one that I plan to speak more with in the days to come…

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WORD ¬ Barbie Cantero image ¬ Liana Rose

Q anD a With the DeaF poetS

With their wailing garage blues and effervescent sound, the Deaf Poets are bound

to set off sparks in 2011. The Miami duo, Nicolas Espinosa (drums) and Sean

Wouters (guitar and vocals) - both song writers – have been making their

presence known loud and clear in the South Florida music circuit since 2009.

The band released an EP in 2009, Illustrious Punks of Progress featuring the single “All Your

Lies”; a catchy tune that resonates with many as it speaks to – well – lies. Another tune on

the EP, “Cold Cold Thieves” is attractive not only for its heavy-hearted and intimate tone but

for its sultry instrumental arrangement.

You might have caught them playing at a venue near you - Churchill’s, Transit Lounge, The

Bar, Love Hate, and many more. If not, they’ll be playing at Black Bar in Downtown Miami on

January 8th.

The Deaf Poets are influenced by artists such as Junior Wells, Radiohead, The Rolling

Stones, Cream, Bob Dylan, and The Beatles…to name a few.

They are currently collaborating on their second album expected to come out later this year.

THE DEAF POETS //

Q: Who are the members of Deaf Poets? What instruments does

each member play?

Nicolas Espinosa - Drums

Sean Wouters - Guitar, Vocals

Q: When and how did the Deaf Poets form?

We formed in July of 2009

Q: Are you all originally from Miami?

Sean: I was born in Miami and Nicolas is originally from Argentina.

But we grew up in Miami Beach

Q: How would you describe your genre of music? Indie? Rock?

Sean: I imagine we describe it as a mix of blues, rock and indie

Q: Who are some of your influences? From your Facebook page,

you mention the below bands - is this accurate? Junior Wells, King

Curtis, Louisiana Red, Joe Carter, Vetiver, My Morning Jacket, Cold

War Kids, Explosions in the Sky, The Kills, Seed, The Beatles, Bob

Dylan, The Band, The Police, Cream, Elvis Costello, James Brown,

Ray Charles, The Raconteurs, Nirvana, Radiohead, The Rolling

Stones, The Strokes.

Sean: Yeah those are definitely a large amount of our big

influences.

Q: Which band/artist(s) are you currently listening to?

Sean: The drifters, Cold War Kids & the Waves . Nicolas - Chuck

Berry, Elvis Costello and My Morning Jacket

Q: Do you write your own songs? If so, which member writes them?

Sean: Yes, we write all our own songs and we write them together

usually we split the work.

Q: Are you currently signed with any label?

Nicolas: No we are unsigned and working independently

Q: Do you have any albums out?

Nicolas: We released an EP in ‘09 called Illustrious Punks of

Progress. We made a music video for All Your Lies which became

the single from the EP. We are currently working on our first full

length record and should be out sometimes this year.

Q: What is your favorite Deaf Poets song and why?

Nicolas: Its hard to choose which song is my favorite but I really

enjoy playing This Pain. I like our fast tempo songs, they are really

fun to play.

Q: Which song do your fans fancy and why?

Nicolas: We’ve gotten a lot of response from All Your Lies and Cold

Cold Thieves. I guess the intimacy level and instrumentation of

Cold Cold Thieves attracts the audience. And We’ve Hear people

talk about the catchiness of All Your Lies and how the songs

speaks to them in a certain way.

Q: What venues have you performed here in Miami?

Nicolas: Churchills, Transit Lounge, Bar,Love Hate, UM, and more

Q: What inspires you to make music?

Nicolas: It is the only thing that expresses who I am.

Q: Do you have a New Year’s Resolution?

Nicolas: I hope our album is received well.

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Innovator and visionary, El Mola is bringing a new genre of music, Afro-Hop to South Florida in hopes of leaving his musical footprint around the globe.

El Mola, short for Molano, means attractive and charming, as such he greets me with an inviting aura and affable smile. On the run with no intent of stopping on the horizon, this Cuban-born native takes a break to talk about his life, overcoming adversity, achieving success, and most important of all – his passion for music.Rhyming, singing, and playing the percussion at a young age his journey with music began. “I would sit down at the dinner table and write down words on a piece of paper and try to find other rhyming words and

BanD on the run:

el mOla

WORD ¬ Barbie Cantero

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once I was out of words I’d turn to my mom and grandma for more words,” he laughs. In 2001, El Mola wrote a song Quien Tiro La Tiza and performed it with his group at the time, Clan 537. “It was censored from the air waves as it touched on social issues of the son of an upper class family versus a working class family. As you know, there’s really no difference as they are both one and the same in Cuba.” Forbidden and exiled, this song still went on to become a well-earned hit in Cuba. Unbeknownst to Mola, this little gem of success in Cuba would ripple across oceans and make its way to Japan; life was sure to change. He, along with Clan 537 went on to tour 34 concerts throughout Europe: Belgium, Poland, France, Spain, and Italy. “Mueve La Cintura” was performed and it immediately makes you want to get up and dance with its vibrant beats and catchy lyrics. “In Europe, they don’t understand anything I’m saying as it’s in Spanish, but they like what I’m doing, they can connect with the music and feed off the energy.” Bonding with fans at that level was surreal to say the least.

“Wow, can you imagine? I felt like a star.” His music resonated to South America as well, reaching Venezuela and Chile.

Mola grew up listening to an eclectic mix of music from Jazz, Soul, Blues, and Gospel to Rap. His greatest influences were Biggie Smalls and 2Pac. At ten years old, he had no idea the effect these two icons would have on the rest of his life. “They were my guides to rapping. I was the student and they were my teachers.”

After a ten year hiatus since releasing his first album Primero Escucha Y Despues Gosa with Clan 537, it’s time for the much anticipated release of his self-titled debut album, Molano, coming out early this year. “This album is transcendental and innovative, bringing a new funk fusion sound that hasn’t been heard before. It’s something [that] I, along with Jorge Mosquera my music producer, have coined as Afro-Hop, stemming from African instruments and hip-hop.” The sounds are upbeat with a unique array of instruments like the bongos, drums, electric bass, and guitar that weave

through his lyrical musings. “Lyrically, I write social songs about everyday life, emotional songs. In doing this, you’ll touch people a little more. You have to interpret what I’m saying. It’s not just rap, it’s a story.” A couple of songs to look out for on the album are “No Llames Mas” and “La Visa.”

“In euroPe, They don’T undersTAnd AnyThIng I’m sAyIng As IT’s In sPAnIsh, buT They lIke WhAT I’m doIng, They cAn connecT WITh The musIc And feed off The energy.”

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In 2010, a pick-wielding music warrior from

Miami Beach named Fernando Perdomo

(of Dreaming In Stereo) launched his record

label “Forward Motion Records” and with

it, he launched somewhat of a movement.

Most people think that Miami is only a hip-

hoppy- dance music town, awaiting another

Ultra Music Fest. Others recognize Miami’s

saturation with the Latin market and all

things connected, but fail to see anything else. Fernando Perdomo is not like most and he does not

just follow others. He has instead chosen to take the road less traveled with his label, focusing on

the Miami music scene stepchildren: the South Florida rockers and folkies who rock too, equally as

talented and prolific as their hip-hop rapping/DJ-spinning/Spanish lyric singing siblings but often

overlooked and underestimated. Perhaps this is why Miami New Times said Perdomo’s Forward

Motion was becoming the most impressive local label out there. Since their launch Forward Motion

has released a few projects which bring a new and cool side of Miami into focus, a side saying only

one thing: Miami Rocks!

come 2011 / Go 2010: South Florida’s upcoming year rings in WORD ¬ Miami Mad Hatter

-FOrWarD mOTiOn | lOcal-miami

music scene releases/revieWs

Album - FAKE SMILES - Kingsley & Perdomo - Here we find Perdomo (the anti-midi) teaming up with Victor Kingsley (of Westar) to

make recordings that have the signature Southern California country rock sound of the 1970s. The two wear similar looks and haircuts on

the CD cover and they complement each other as if they have always been a duet. Kingsley’s smooth vocals and 70’s singer/songwriter

styling just goes with Perdomo’s legendary guitar playing and classic approach to studio musical productions. Just try to think of The

Eagles or early Fleetwood Mac circa the Rumors era. It is obvious that banjos, slide guitars, heart-throbbing kick drums, and acoustic

guitars are all clearly driving this record. The ten track opens with a dreamy sounding “SMILE” saying, “smile, smile even if it hurts” before

it picks up the drums and introduces layers of pseudo-ethereal sounding electric guitars. Next up is “HEAVEN’S GROWING” which is

catchy with choppy guitar strums that make you want to start clapping along. Track three (my personal favorite) is a Kingsley & Perdomo

masterpiece; a cover of The Bee Gees’ “STAYING ALIVE,” but taken in an all new direction by the two Miamians. Track four could easily be

a single: “WHAT IS WRONG” creeps in soft and pretty like a Sunday morning. It is laced with catchy hooks and lush harmonies. Track five,

“IS THIS LOVE” has a twang and yet somehow reminds me of The Beatles (sorry, I can’t pinpoint exactly why). Track six is one of Perdomo’s

most popular original compositions, “LAZY,” one of my favorite Pedomo songs because of the groovy, feel good vibe it gives off.

http://www.youtube.com/watch?v=69z4MCWoBso

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Album - ANDY PRATT LOVES YOU – Andy Pratt - The 70’s cult folk-rock legend Andy Pratt is not really a Floridian at all, instead he is an experimental artist praised by critics in numerous publications, including Rolling Stone magazine. His pop introduction came when he scored a commercial hit (Avenging Annie) which was a falsetto song written from the viewpoint of a mythical heroine and based in part on “The Ballad of Pretty Boy Floyd.” A highly skilled musician and multi instrumentalist, Andy is also established as a prolific songwriter with a very unique voice; a voice having both a distinct timbre and a one of a kind style. After exchanging emails with a long-time fan in Florida, Andy jumped in his car and drove 3,000 miles (from Cambridge to Miami) for the sole purpose of meeting Fernando Perdomo and making this album. This collection includes mellow ballads and power ballads (like the piano led “TAKE IT ALL AWAY,” which sports eclectic instrumentation layered around vocals singing out in harmony, “everything that went before... doesn’t matter anymore... so c’mon… take it all away”) along with the more guitar-pushed creations, such as “CLOSE TO YOU” with its gentle, rising drumming and beautiful piano solo.

Trust me folks, this collaboration between the cult music legend from the North and the Miami anti-midi guitarist/artist is indeed a “made-in-Miami” musical rarity. In fact, I dare say it would make a fine addition to any rare music lover’s CD booklet or any Indie music aficionado’s play list. http://www.youtube.com/watch?v=NcAz_em8CTE

Single - HAIL MARY – Omine - If you do not yet know the name “Omine Eager” then it is time that you did. Omine is the daughter of a jazz legend, Allen Eager. She is also kind of like Miami’s own Janis Joplin in many ways. Passionate, dedicated, and relentless; Omine can be seen all over South Florida and the city of Miami, usually performing solitaire with guitar in hand. She is at local festivals, on local stages, in local venues. The rockabilly-tinged singer/songwriter is literally everywhere! She strums emotions and plucks on heart strings like a human metronome with a bluesy feel. Before a mic she almost always stands, wailing out belted high notes with technical precision and a voice that is like cathedral stained glass. This Omine-original on Forward Motion Records (a rearranged/re-recorded Perdomo-colored version of Omine’s independently previously released “HAIL MARY”) is her first release on the new Perdomo label. So… is there

a full Omine album coming soon or what?? Well, rumor has it that yes, there already is an Omine album in the works. This is simply Omine and Perdomo’s way of teasing us. “HAIL MARY” sounds like something that would be in a Quentin Taratino flick or a True Blood sound track. It plays out like something by the Stray Cats. It revs up the first verse with the following line: “Father John won’t you please tell me? Why do you think I’m such a sinner?” Then it goes on to tell about a young girl who pushed her sister and caused her a bloody nose. Of course, there are some new and very cool/ classic Perdomo-layered/valley-sounding electric guitar riffs ripping in and out throughout the track. This new “HAIL MARY” single by Omine and Perdomo definitely gives a new twist to what is an already shaken and stirred Miami music scene sound. It stands apart from its previously recorded incarnation. We can’t wait to hear the whole album and find out what the rest of this Omine-Perdomo merger will bring. http://www.youtube.com/watch?v=iV4IL4Dc2EI

*** SPECIAL SNEAK PEEK @ 2011 MUSIC - Dreaming In Stereo, Part 2 - Yes! It is coming and will be arriving soon. The follow-up Dreaming In Stereo album will be out for all in no time and we (the Mad Hatters and Grungy Cats here) were given a very special private listening/playing session for some of those not yet released tracks!! Let’s just say this, South Florida local Indie music lovers are going to be in for a real treat… South Florida music scene members will once again be made proud by this local act... Now, we don’t want to ruin it for you all, so we’ll keep this very short… We’ll only talk about one song: “FILL MY SKY,” just one of the many amazing and awesome new tracks on this upcoming D.I.S. album. The groove and beat of “FILL MY SKY” is nothing short of hypnotic. The song’s vocal harmonies are rich,

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WORD ¬ Miami Mad Hatter

urban rebel (er-ben, re-bil) ► n. A groove rock/ heavy funk ensemble of artistic renegades from miami, joined together since 2007 on a mission to rock south florida both hard and funky. True to their name, the lineup visually resembles a legion of back alley comic book superheroes clad in denim and tats: Trip6 (lead vocals), lac (bass), Pat (guitar), e (drums), and nacho (hyp). Audibly, the band is comparable to the likes of rage Against The machine, red hot chilli Peppers, korn, and Primus. With over five thousand online fans and several popular songs, including “Awake” and “under Pressure”, the group is currently working with Producer, miguel gonzalez (bad company) on an upcoming 2011 release...

Gk’S “unlucky 13”: DeeP Q&a PrObing WiTH sO Fl’s Heavy Funk-rOckers, urban rebel

Mad Hatter Q1: I hear that you guys consider James Brown one of your many musical influences. Explain that…

Urban Rebel A1: We are not heavily influenced by James Brown, but if we would have to name a song by him that influenced us it would have to be “I Got a Feeling” or “The Payback.” It has that funky guitar riff and in-the-pocket groove that you can just bounce your head to… tends to stick in your head. MH Q2: How is recording with Miguel Gonzalez, the producer who played with Bad Company? UR A2: It has been a great experience. Miguel is a seasoned musician that really knows his craft. He has helped us improve our style. MH Q3: Tell me about the song “Ordained Predators” and give me the story behind the lyrics...

UR A3: Ordained Predators is a song about the Catholic Church and how for centuries this religious organization has committed numerous crimes. We have been lied to for over 2,000 years. It is time for an awakening… MH Q4: What is the band’s favorite South Florida hangout when you are not making music? And for the love of God, I beg you, please don’t say Starbucks…

UR A4: Our favorite hangout is Churchill’s Pub. We feel that it has the best underground music, plus it also promotes the local original music scene. We also enjoy the open platform for younger and newer bands as well as the sound quality stage. They have hosted a lot of greats, like Iggy Pop and Marilyn Manson. MH Q5: You guys certainly do play out a lot. You must meet many people doing all of these shows. Name a few local South Florida bands that you all follow or personally like, or name the bands that you enjoy doing shows with?

UR A5: Wow, there are so many! Some of our favorites in South Florida are Keeper, Sun Dry Cilo, Askultura, Music Is A Weapon, Tribal Witch, and Jacob’s Ladder. MH Q6: Trip6, tell me the name of the first song you ever remember singing?

UR A6 // Trip6: When I was two years old my father taught me to sing an old Spanish folk song which in Puerto Rico is known as an Aguinaldo. I had no idea what I was singing. That was my first recording.

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MH Q7: Can each of you name one person in your life who influenced you as an artist/musician? UR A7 // Trip6: Cecilio Gonzalez (my father) is to blame for my madness. I have to thank him for starting me at a young age, teaching me to find my own truth, and believing in me. Rest in peace, dad… Lac: I have been listening to Janos Hegedus since I was a child. He is a Hungarian bass player. His style and range is most impressive. He has been the foundation of my style. E: For me, my father has been my biggest influence as a musician. He was a bassist and he has been in the music industry for quite some time. Most importantly, he has been my biggest supporter throughout my musical career. Pat: Reinaldo Rodriguez, my grandfather. I’m so grateful for this GREAT MAN. He’s truly an inspiration in my life. He was responsible for my first Peavey amp. Mad Hatter Q8: Can each band member tell me what need they think music fills in life?

UR A8 // Trip6: Music brings happiness, sadness, redemption, a sense to start over, freedom, and a balance like no other. Music is revolutionary; it fills as well as gives life. Lac: When the crowd hears our music I want them to feel undecided as to whether they want to fight or fuck. Pat: Music (to me) gives a sense of living life in that particular moment. E: I believe music can fill the void in people’s lives. It is an escape from everything that is going on in our hectic world… MH Q9: Okay, so who are you guys trying to reach with your music and why? UR A9: Although our music is appealing to everyone because of our mix of styles, we would really like to reach out to college students; younger kids and individuals that are free-minded and see the world with no lines. MH Q10: Can each band member tell me why they feel they must make music?

UR A10 // Trip6: I have been singing ever since I was a child, therefore I feel that singing is my calling. Lac: Music is important so that everything can be alright with the soul. Pat: I never wanted to be a man in a box, like a laborer or desk clerk. Music allows me to express myself and use both my skills and creativity. E: I make music because it is my therapy. I sit behind the drums and pour out every emotion I have into whatever I am playing. MH Q11: Tell me, what should people know about you? Or tell me one thing that no one knows about you. UR A11 // Band: People should know that Urban Rebel is not just a band; it is a culture that speaks truth. It helps you understand your identity and helps to remove boundaries. After all, we are but a union of different cultures. Trip6: Urban Rebel is a unity of consciousness, it is freedom. Lac: Nobody knows how I gave up everything for the

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music... Pat: I may appear ordinary, but I have unordinary thoughts… E: I want people to know that I am badass on the outside, but I am sweet when you get to know me. MH Q12: What is the craziest thing you have seen happen while in the music scene or music biz?

UR A12: We were doing a show once… the band and Trip6 were going nuts on stage… suddenly out of nowhere this female fan had appeared and grabbed Trip 6. In a matter of seconds she had unbuckled his belt and pants, pulled out his penis, and started fondling him!!! But the REAL crazy shit was that he let her do it! He just continued singing!! Each and everyone one of us have seen and done many things. The best way to find out how crazy we can be is to come to one of our shows. MH Q13: Now tell me the future… UR A13: Urban Rebel is going to be around for a while. We foresee ourselves playing at larger festivals and venues soon. We already have plans for more shows and future recordings. Visit Urban Rebel online today to download some free music and find about their next appearance near you! Visit http://www.myspace.com/urbanrebelmiami

I WAnT PeoPle To knoW ThAT I Am bAdAss on The ouTsIde, buT I Am sWeeT When you geT To knoW me.

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A teacher playing the guitar to her students as she sings them a history lesson? Yes, this is happening in some very innovative classrooms today thanks to the work of Guitars in the Classroom, a non-profit organization dedicated to bringing music back into the schools. But why is this so important? Well, in “nutshell,” music helps your brain! Every time I read new research about how music is good for the

brain I get excited! I also get a little smug because like most musicians or true lovers of music I already knew all of this deep down in my soul but it’s good to have it all validated. I have a motto and it is this: “Make Music and Be Well.” I really mean it! Do you love music? Well that is wonderful because if you have incorporated music into your daily life then you are on the right track for wellness and a healthy brain. However, I really mean “make music.” The actual act of playing music on an instrument or singing with your voice is the key. I will give more instances about those guitars in the classroom but first let’s learn a little about why music is important. Research suggests that early musical training helps develop areas of the brain involved in language and reasoning. Recent studies even suggest that music training physically develops the part of the left side of the brain known to be involved in processing language and can help the brain develop its system of circuitry. Do you remember learning the alphabet to a tune? Well there is good reason why teachers have known for years that linking tunes with information can help create imprints of information that contribute to learning and language. Did you know that the important component of brain health known as “cortical plasticity” is affected by music? Cortical plasticity basically means that you have a brain that is more efficient and adaptive (Research by The Beckman Institute, Neuroscience Program at the University of Illinois at Urbana-Champaign). Cardiovascular fitness is important for this to exist (exercise!). In addition, cortical plasticity is enhanced by practicing an instrument due to the way that the brain processes the multiple sensory and physical tasks that the musician is doing while engaged in practice, or performance. For example, the fingers moving while playing strings and the sensory experience of fingers touching the strings with varying levels of pressure combined with the ears deciphering the pitch to signal the fingers to make corrections (Research by the Rotman Research Institute in Toronto, Ontario). Basically, this research is suggesting that just learning to play an instrument helps our brain to function more efficiently and adaptively.

make muSic & Be Well

WORD ¬ Tania Cordobés

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It seems like there has been a growing movement over the years to introduce children to music at an early age. Many suggestions have even been made about introducing music to the baby in-utero. It is true that music helps to develop a variety of skills in the younger child; but what about the older child? Does music have the same affect on them? I would venture to say that yes, it does. Teenagers develop their own world of songs. Notice how quickly a teenager picks up the lyrics from a song that they like? It makes sense to team music and learning together. It also makes sense to say that music is a way for teens to express themselves. Take a listen to their favorite songs and you probably will get a good picture of how they are feeling and what is important to them. All this being said, what else does learning an instrument do for school age children? What music does for the developing brain, bringing music together with learning, provides the benefit of increased learning and increased social skills. Let’s take a look at the benefits of learning to play music in a group atmosphere. Socially, there is the benefit of learning to work well with others. Music students learn to think creatively and solve problems and learn craftsmanship as they study the details of music. That being said, in order for an ensemble to sound good, each player must be prepared to be able to work together with the other instruments in order to produce a good performance. The players must commit to learning, practicing, rehearsal and performance in a group environment which develops coping skills for living in a world in which application of these skills are of great value. Music develops the skills to “do” and to “make” and to “listen”. These are all skills that will help develop children into successful, confident, multi-dimensional people. That supple and flexible intellect that they will develop in the musically supported classroom will prepare them for life.

reseArch suggesTs ThAT eArly musIcAl TrAInIng helPs develoP AreAs of The brAIn Involved In lAnguAge And reAsonIng.

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With all of the information available about how helpful music can be for school age children it is notable that music is not a high priority in many schools. There is an organization that has made it a priority to bring music back to the school environment in an

innovative way. This organization is called, Guitars in the Classroom. This non-profit organization has taken all of the current knowledge about the benefits of music and applied it directly to a new curriculum model. Guitars in the Classroom instructs teachers how to use the guitar to teach academics in a musically supported model of singing and songwriting. To learn more about the philosophy of this organization and how to help put music back in the schools in a fresh new way that young people can relate. Please check out their website: www.guitarsintheclassroom.org.

If you are interested in more research and information about how music can help with learning, the brain, health and well being at any age

here are some resources: www.

guitarsintheclassroom.org, The Journal of Music Therapy, www.musictherapy.org, The International Journal of Music Education, The Journal for Music in Education, www.songsforteaching.com, and www.intellitunes.com/music.htm or you could always Google search: music and the brain. About the author Tania Cordobés is a music therapist and singer-songwriter. You can find out more at http://taniacordobes.com, twitter @taniacordobes, and Facebook: http://bit.ly/cKBGEd

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The Club at Sun Life Stadium allows you and your guests to experience the Dolphins and other events from a new perspective, at a private level, among the who’s who of South Florida. Technology. Amenities. Design.

Comfort. Luxury. Service. VIP entrances. Personalized guest services. Weather protected seating. Climate controlled restaurants, lounges and bars. The NFL redefined. You’ve arrived.

Please call 305.623.6200 to receive a personal tour of The Club or visit www.TheClub.SunLifeStadium.com

11-DPH_208_grunge_kat_mag.indd 1 2/10/11 5:19 PM

So much Gear, So much SounD

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WORD ¬ Dj Chuckles

With the advancement in technology, operating a small but dynamic music studio is getting easier. In this article I am going to discuss a few pieces of equipment that are crucial for your setup. First, choosing a music production program is the most

crucial part of the setup. There are a variety of programs out there that are available. ProTools, Logic Pro, Reason, FL Studio, Ableton Live are a few that come to mind but the two I prefer are Logic Pro and Ableton Live. Ableton Live is easy to use, compatible with a lot of equipment and insanely stable for not only studio use but for live use as well. Logic Pro is also fairly stable and great for mixing and mastering music. The next important part of your setup is having a solid audio interface. Finding a reliable audio interface seems to be a lot easier nowadays. The three I would recommend would be any of the Digidesign Mbox series, the MOTU series (specifically the Ultralite Mk3), as well as the new Mackie Onyx I series firewire mixers. The Mackie Onyx I series firewire mixers would be my choice because of the hands-on feel of a mixing console with great EQ’s and the solid build and design from Mackie. Also, with the capability of having all channels of the mixer routed into and out of your program (including auxiliary sends ) makes for some amazing control and possibilities with your setup.

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IMAGE ¬ Norman Lendzion

*A family photo album

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a SnapShot: the aWarehouSe in WynWooD

Once upon a time, at a festival called SONAR (in Barcelona, Spain), a group of artistic intellects, (collectively called “organicArma”) experienced a series of avant-garde live performances, digital art, and video installations that could

only be described by them as being an “elegant rave.” A week later, after the glow sticks had all died out and the music had grown silent, they decided to get together and recreate this “elegant rave” (or their own version of it) on their own terms. Based on the eclectic new wave of immigrants that they saw while actively being artists in the South Florida community for five years, it occurred to them that Miami was the ideal spot for this kind of a show… and so a new concept was born: The Awarehouse.

WORD ¬ Miami Mad Hatter

creaTing anD T r a n s m i T T i n g c O n c e P T u a l mOvemenT in sO Fl

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Owned and operated by electronic record label, Acustronic, and Colombian Galerist, Luis Perez Galeria, the 20,000 square foot renovated warehouse is a hub of contemporary and modern ingenuity and is the new Acustronic Headquarters. Also serving Miami as a venue for events, Awarehouse hosts shows, concerts, fashion shows, art exhibits, and more. Located in the heart of Miami’s Wynwood Art District, it is a classy orgy of culture, music, and art; a blank canvas waiting to be filled with new ideas. Borders are limitless, mediums are anything but medium, and imagination just is. Their aim at Awarehouse is to shock, amuse, and please, even the most discerning of critics. Their avant-garde approach to re-acquainting everyone with the ever evolving face of Miami is indeed what makes them a social Mecca, calling out to anyone who dares to conceive. Awarehouse has held live concerts by musical acts such as Pretty Please and JOCE as well as hosted events for Miami’s “Centro Cultural Español” and the renowned Claudia Calle. It sports an upscale vibe with an environment that is a work of art in itself. Outside, a ten thousand square foot garden/video space featuring sculptures from Colombian artist, E. Negret is overlooked by a one thousand eight hundred square foot terrace, all beautifully enclosed in foliage and modern décor. Inside, an urban-flavored five hundred square foot Mezzanine Loft with elegant hip mid-century furnishings overlooks the main room, where a twenty-two foot high ceiling floats over a modular stage and moveable walls, all elegantly framed in by pristine white brick. Complete with installed state of the art equipment for both audio and video productions, this place dares everyone who enters it to explore the science inside of emotion, asking questions like “do you think before you feel?”

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Awarehouse owners, organicArma (aka: the artistic intellects), had this to say about our local miami music and art scene… phAxas: “As a musician in South Florida, I’m moved by the willingness and motivation of the artists who want to create something that is unique to our surroundings. Musicians here are eclectic, energetic and full of lush rhythm and sensuality…” dhArma111: “Miami is an edgy city that will push the boundaries of styles or genres into a great new culture for the U.S. and beyond!” phAxas: “There seems to be a movement towards elevating the quality of projects and utilizing all technology and resources available to do so, even expanding to other artists such as live painters, sculptors, VJ’s, and all the creatives of this city...” dhArma111: “What we have seen [here] are many talented and risk-taking musicians willing to collaborate and play together with an interesting sound, visual art, big bands, technologically-innovative instruments, props and stage performers… overall solid shows! They also gave Grunge Kat these two bits of love to be shared… dhArma111: “To all the musicians out there in South Florida who will read this: This is the moment to share and bring forth your original expression, so find your spot based on your talent, as an opposite to keeping the same old feelings of the past.” phAxas: “And thanks to places like the Wynwood Art District, who have created a home for this! Awarehouse intends on becoming a hub for all those who wish to use it as such.”

ThIs Is The momenT To shAre And brIng forTh your orIgInAl exPressIon, so fInd your sPoT bAsed on your TAlenT, As An oPPosITe To keePIng The sAme old feelIngs of The PAsT.”

A little about these artistic intellects: organicArma is a Miami-based progressive electronic music group comprised of two band members – “dhArma111” (drummer and vocalist) and “phAxas” (sampler, engineer and vocalist) - originally conceived by Venezuelan visionary Juan Carlos Penaloza in 2003. Their inaugural EP, “Under Duality 0.1,” is a collection of four tracks that play like a dream-like lounge experience at home. They made a grand entrance at Paris Fashion Week in 2007 with an explosive performance as part of the Oscar Carvallo fashion show and art installation at the Musee de Louvre. In 2008, the group produced two new tracks, “Meteor” and “Egipsin,” with several remixes available through iTunes. Legendary DJ/producer and originator of “The Sound of The Cosmos,” Tom Middleton, collaborated with the band to produce a number of tracks from the new album, “Under Duality” slated for release over the summer of 2011. The acclaimed duo unveils the long-awaited debut single, “Love Is Not It All,” available on February 28th, 2011 through all major digital music outlets worldwide. Preview and download Love Is Not It All (album version + bonus track) at http://soundcloud.com/organicarma-1 The music video for Love Is Not It All can be viewed at http://www.youtube.com/watch?v=ZAP0nebfZlgFor further information on Awarehouse, visit www.awarehousemiami.com For further information on organicaArma, visit www.organicArma.com

Everyone’s gonna be talking about us.

You should buy an ad....they’ll talk about you too.

305 989 6759grungekat.com

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Fuma

Musician, leader of the group PALO! (gopalo.com), and cigar lover Steve Roitstein recently sat down with Jose Orlando Padrón, founder of Padrón Cigars, for a conversation about music, cigars, business, and life. Steve Roitstein: What are some of your early musical memories from Cuba? Jose Orlando Padrón: There’s a song called “Dos Gardenias” (Two Gardenias) Singing: “Two gardenias for you, with them I mean, I love you.” I’ll never forget this song. When I was a child, there was a tall gardenia bush, and my brother and I used to play under it because it had a very pleasant scent. So in Nicaragua I planted a row of gardenias. Now, whenever someone comes and wants a flower, I give them a gardenia.

WORD ¬ Steve Roistein

064grungekat.com

What I have in Nicaragua is like a family. We survived war, the blockade of the country. My cigar factory was closed for five years, and I had to go to Honduras to help my people survive. Those were some hard times. Steve Roitstein: Tell me about overcoming some early challenges when you began your business in Miami. Jose Orlando Padrón: The initial problem I had when I began this business was that my first cigars were not selling well. One day, I smoked one of them and I asked myself: “Why are these cigars not selling? They’re very good!” I suddenly remembered that my first client always asked me to make him a “Fuma” style cigar like the rollers in Cuba used to make. The next day I told my roller “Make the next cigar a little bigger and leave a little tail on the end like the Fumas in Cuba.” I prepared the packaging so that you could see the tail and wrote the word “Fuma” on the wrapping paper. It was a huge success, and I crushed all of my competition in the market. Steve Roitstein: How important is ethics in your business? Jose Orlando Padrón: Honesty must come first; honesty and reliability. These things cannot be ignored. If a customer has a problem with one of our cigars, that’s our fault; we made the cigar. We will refund your money. Each box of cigars has a piece of paper that says who rolled them. I call my roller and say, “Look, this complaint has to stop, get it right.” Steve Roitstein: Do you have a favorite Cuban singer? Jose Orlando Padrón: Well, there were so many, but Celia Cruz had a beautiful story; a woman who came here and became incredibly famous. Steve Roitstein: What is the best thing to drink with a Padrón cigar? Jose Orlando Padrón: To me, whiskey is the best. Rum is too strong, but a sip of whiskey is perfect.

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“At the moment I LOVE to listen to ADELE ‘Rolling In The

Deep’! Her voice is incredible, has so much power and gives

me goosebumps!

I love the drums and the piano and the whole track is just

taking me. Really nice vibe, can’t stop listening to that!

Actually I got the whole album”

Thomas Gold

“I love it because it always puts a smile of

my face. Makes me feel happy every time!”

Max Vangeli

Licensed under creative Commons Sampling License Plus+ by LAFKON 2005

Licensed under Creative Commons Sampling License Plus+ by LAFKON 2005

BiG katS //

noW playinG

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PADRON

04.08.10

We uphold the respect and pride of our traditions and our name by delivering only the finest, handmade, complex cigars with

the f lavor of the Cuban heritage out of whichthe recipe was born. The core value of

commitment to family tradition and qualitywhich served as the foundation for the

company philosophy 46 years ago, remains as steadfast as the loyalty of our customers.

Today, as always,The Padrón Family strives togive you, the smoker, the confidence that each Padrón cigar is the same… perfect.

– JOSÉ O. PADRÓN

When PadrónTMis on the label, quality is a matter of family honor.

www.padron.com

®

TM

A P E R F E C T B L E N D of TR A D I T I O N

I N V E S T E D in T O M O R R O W

Hand Cra f t e d S in c e 1964

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