THE PEACH: Sewing Class Ages 7-13, Come Paint w Me
EL SEGUNDO: Taco Tuesday
ARTS GARAGE: Comedy Open Mic
GRAMPS GETAWAY: Let’s Sang Karaoke
7/2
REVOLUTION LIVE: Carnifex, Suffocation, Devourment, Distant, Bocybox, Monochromatic Black
THE PEACH: Artist Talk & Critique, but make it FASHION, Play w Clay
REVELRY: Kinky Karaoke
7/3
THE PEACH: Sewing Class Ages 7-13
NSU ART MUSEUM: Mini Muse Art Making
REVELRY: Live Music Bingo w Smerks & The Nightmares
7/4
MIAMI BEACH BANDSHELL: 4th of July Roller Disco GRAMPS GETAWAY: Medley
REVELRY: Star Spangles Shimmy Bourbon & Burlesque Show
7/5
RESPECTABLE STREET: Warped Tour Respects
ft Take this to Your Grave, Mass Revival, Live from 05, We’re Wolves, The Burn
THE PEACH: ART WALK
CONNECT RECORDS: Freshly Squeezed, DJ Florida Boy, Medley & Meaux
REVELRY: The Mighty Flea Circus
REVOLUTION LIVE: Kid Kentucky – Tribute to Kid Rock with Nookie -Tribute to Limp Bizkit ARTS GARAGE: The Bruce Tribute
7/6
THE PEACH: YOGA GRAMPS GETAWAY: The Lab
7/7
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
7/8
ZEYZEY: Os Mutantes
THE PEACH: Sewing Class Ages 7-13, Come Paint w Me ARTS GARAGE: All Arts Mic
GRAMPS GETAWAY: Let’s Sang Karaoke
7/9
THE PEACH: Artist Talk & Critique, but make it FASHION, Play w Clay
GRAMPS: AV Club: 16MM Film Screenings
REVELRY: Karaoke
7/10
RESPECTABLE STREET: Spirit Leaves, Further Within, Newly Opposed, Let Me Bleed
MIAMI BEACH BANDSHELL: Steel Pulse
THE PEACH: Sewing Class Ages 7-13
7/11
THE PEACH: GALLERY SHOW, Henna Tattoos
REVOLUTION LIVE: Fame – Ultimate Bowie Tribute & Planet Duran – Duran Duran Tribute
ARTS GARAGE: The Motowners
GRAMPS: Drook & GLOM
REVELRY: Joel Dasilva Band
7/11-8/29
CULTURAL COUNCIL FOR PB COUNTY: Artist Innovation Fellowship Showcase
7/12
FILLMORE MIAMI BEACH: Elvis Costello & the Imposters, Charlie Sexton
RESPECTABLE STREET: Wraz, Rafeeki, Studder, King Joe, Mandalamon ARTS GARAGE: The Motowners
GRAMPS: Better Strangers
CONNECT RECORDS: Typewriting & Poetry
REVELRY: Live From 05
ARMORY ART CENTER/NORTON MUSEUM OF ART: Art with the Armory / Jewelry Making Workshop: Salvador Dalí
7/13
FILLMORE MIAMI BEACH: Jessie Reyez
REVELRY: Ink + Drink Sunday Social: Cancer Edition, Gregory Dirr, ShangriLa Collective THE PEACH: YOGA
7/14
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
7/15
THE PEACH: Sewing Class Ages 7-13, Come Paint w Me ARTS GARAGE: Spoken Word GRAMPS GETAWAY: Let’s Sang Karaoke
7/16
THE PEACH: Artist Talk & Critique, but make it FASHION, Play w Clay
7/17
MIAMI BEACH BANDSHELL: North Beach Social ft Raven & the Dark Shadows
REVELRY: Bring Your Own Vinyl Night: Wax On Wax Off
THE PEACH: Sewing Class Ages 7-13 GRAMPS: Nerd Night
7/18
BAILEY CONTEMPORARY ARTS: Lineage Exhibition, Kelcie McQuaid, ShangriLa Collective, Chris Horgan, Brady Newbill, Lindsey Mills, Richard Vergez, Rick Smith, Eric Ivan, Gwen Karabensh, Sara Taubenkimel, Maitejosune Urrechaga, Carli Acosta, Jonathan Phillip Wilkins, Ethan Bartman, Agent Mar, David Koenig, Hunter Isbell
REVELRY: Lineage Exhibition After Party, Kelcie McQuaid, ShangriLa Collective, Nat Smallish, Night Foundation
RESPECTABLE STREET: RA the Rugged Man ARTS GARAGE: Fortunate Sons: Creedence Clearwater Revival Tribute
ITHINK AMP: Men at Work, Toto, Christopher Cross
GRAMPS: Juke, Apostoli Floyd, Girl Blue THE PEACH: Henna Tattoos GRAMPS GETAWAY: Neil
7/18-8/3
LW PLAYHOUSE: Hair
7/19
BAR NANCY: Bleeth (Album Release), Palomino Blond, NGY, Mold!
MIAMI BEACH BANDSHELL: El Laberinto del Coco
RESOURCE DEPOT: Tabula Rasa (Adult Workshop)
REVOLUTION LIVE: Still Alive – Pearl Jam
Experience with Foo Fight – Foo Fighters Tribute
ARTS GARAGE: Ashley Pezzotti Quartet
CONNECT RECORDS: Sine Harmonia
REVELRY: Slip & the Spinouts
GRAMPS: We Touch Grass: Anime Rave
CULTURE ROOM: Kash’d Out, Seranation, Jarv
7/20
FILLMORE MIAMI BEACH: The Rose THE PEACH: YOGA
7/21
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
7/22
THE PEACH: Sewing Class Ages 7-13, Come Paint w Me GRAMPS GETAWAY: Let’s Sang Karaoke
7/23
MIAMI BEACH BANDSHELL: Barrington Levy
THE PEACH: Artist Talk & Critique, but make it FASHION, Play w Clay
7/24
THE PEACH: Sewing Class Ages 7-13 REVELRY: Revelry-Diculous Stand Up Comedy
7/25
CENTENNIAL PARK & AMP: Boynton Night Market
ARTS GARAGE: Dante Vargas & Val Vargas Salsa Dura y Boogaloo
GRAMPS: Dos Minutos
REVELRY: Blood Moon Mafia
REVOLUTION LIVE: Maiden Mania- Iron Maiden Tribute & After Image- Tribute to Rush THE PEACH: Henna Tattoos
7/26
CENTENNIAL PARK & AMP: Boynton Night Market
MIAMI BEACH BANDSHELL: The Art of Go-Go Fest ARTS GARAGE: START ME UP! – A Tribute to the Rolling Stones
GRAMPS: Hijas de la Muerte, Salem’s Slot Machine, VMF, Wild Spark
REVOLUTION LIVE: The Pantera Experience The Live Tribute
CONNECT RECORDS: Experimental Sound, Open Spin REVELRY: The Cure Tribute w the Lovecats
7/27
THE PEACH: YOGA
7/28
THE PEACH: Comedy Workshop, Open Mic, Drawing & Acrylics Class
7/29
THE PEACH: Sewing Class Ages 7-13, Come Paint w Me GRAMPS GETAWAY: Let’s Sang Karaoke
7/30
THE PEACH: Artist Talk & Critique, but make it FASHION, Play w Clay
REVELRY: Spelling Buzz w Ryan Panucci
7/31
THE PEACH: Sewing Class Ages 7-13
REVELRY: LOL Love Connection Dating Game
MEN AT WORK
by david rolland
It’s doubtful that the composers of 1980s pop and rock hits imagined their songs would still be on constant loop 40 years later. Just on terrestrial radio in South Florida we have 102.7 The Beach and Big 105.9, plus the “Totally 80’s” HD channel hosted by Hits 97.3. At any given time on any of these outlets you can hear either of two songs by the Australian band Men at Work, both off their 1981 album Business as Usual.
The first, “Down Under,” is a bit of a novelty that could have — and has — been deployed as an ad campaign to get tourists to visit Australia. With a new wave-y production, hints of reggae and talky, almost literary lyrics, it could be confused for a song by their peers in The Police. But there’s a jolly vibe to the proceedings, with flute accompaniment and a reference to Vegemite.
The second song, “Who Can It Be Now?” trades a flute for a memorable saxophone. It’s also filled with humor, as it was originally inspired by Men At Work singer and songwriter Colin Hay getting late night knocks on his door that were meant for his neighboring drug dealer. But it’s had such a long life in that it can probably be interpreted as an anthem of alienation or even hopeful romanticism. You’ll be able to hear these songs and other ever-so-slightly-less-familiar hits like “Overkill” and “It’s a Mistake” when Men at Work play West Palm on July 18 with fellow ’80s stalwarts Toto and Christopher Cross, whose songs never went away, either. Hay is the only original member of this 2025 Men at Work iteration, but when I caught him at Parker Playhouse for a solo show back in 2016, he was still able to hit all those high notes. That show featured Hay accompanied only by his acoustic guitar and wit. With a Men at Work ensemble, expect renditions closer to the recorded originals, complete with all the flute and saxophone you could ever hope for.
Men At Work, Toto and Christopher Cross perform 6:45pm Friday, July 18 at iTHINK Financial Amphitheatre in West Palm Beach. colinhay.com
The Cultural Council created Fellowship Program in disciplines in order to creative individuals who form County’s cultural sector. grants have been awarded showcase is a celebration of and their work over the past videos, music, and other
FEATURED
Suzanne Ankrum • Molly Eli Cecil • Noah Garbarino • Janis McDavid • Jose R. Mendez
Robert M. Montgomery, 601 Lake Avenue, Lake Tuesday – Friday, 12 – 5
Jose R. Mendez
Victoria Cardona
created the Artist Innovation 2020 for artists across all to honor and support the form the core of Palm Beach Since then, three rounds of awarded to 21 Fellows. This biennial of each of the 10 2024 Fellows past year, featuring photographs, other artistic expressions.
p.m. • Free and open to the public palmbeachculture.com/exhibitions
HAIR
by abel folgar
The original peace-and-love rock musical is back, and it’s not pulling any punches. Hair opens Lake Worth Playhouse’s 73rd season with a thunderclap of rhythm, rebellion, and radical hope. Directed by Suzanne Dunn, this production honors the hopeful spirit of the 1967 Broadway sensation while reminding today’s audiences that the fight for freedom and equality is far from over.
“Our young cast has been shocked to realize how much progress has backtracked,” Dunn tells PureHoney. “Why is there still bigotry? Why can’t love be love? Why are we destroying the planet or sending young people to war? These questions still don’t have answers.”
Dunn is no stranger to bold material, with credits that also show versatility and sharp thematic instincts, from The Sound of Music and Respect: A Musical Journey of Women to Death by Design, Church and State, and The Bachelorette
Rooted unapologetically in its original setting, Hair refuses to be a museum piece. With songs like “Aquarius,” “Hair,” and “Let the Sunshine In,” the show is packed with countercultural anthems — but it’s not just peace signs and protest chants. This staging confronts the provocative elements — nudity, drug use, anti-war outrage — with nuance, intentionality, and care. “These should have become passé almost 60 years later. That’s the conversation we hope to spark — why haven’t they?” Dunn says.
Dunn and her creative team employ an intimacy coach and ensure a consent-based rehearsal environment. Nudity, when it appears, is brief and symbolic. “It’s not sexualized. It’s a rebirth. A casting off of old expectations. A Garden of Eden moment,” she explains. The show invites a raw honesty, asking audiences to dig deep, listen, and—above all—choose love.
While Hair bursts with color and joy, it is very much intended for mature audiences. It doesn’t flinch in the face of hard truths, and it invites viewers—especially younger generations — to recognize the continuity of resistance across time. “Modern audiences will be able to make the connections between then and now,” Dunn says. “The global struggles, closed mindsets, fear, and positioning for power are the same.”
Eli Cecil Tracy Guiteau
LINEAGE
by tim moffatt
South Florida multidisciplinary artist Kelcie McQuaid processes grief, family history and memory in an ambitious and intensely personal project called LINEAGE. The July 18-September 13 exhibition in Pompano Beach “blends bio-art, portrait drawings, kinetic sculptures, and video installations to examine how trauma, habits, and cultural values are passed down through generations,” says the exhibition preview from Bailey Contemporary Arts. LINEAGE also draws on McQuaid’s deep connections to South Florida musicians, with works inspired by their sonic contributions.
“This show was born out of a lot of heartbreak over the last decade,” McQuaid tells PureHoney. “While juggling a heavy workload and living in survival mode, I learned my mom had terminal cancer, and I lost my oldest brother to an overdose. I tried to quit art. I broke down, but then I kept going. Then my middle brother got a cancer diagnosis, and last year, while I was working on People Pleaser, my grandpa passed. I knew a long time ago I would make this work, but that solidified the urge.”
Bolstered by an Artist Innovation Grant from the Broward Cultural Division and the Community Foundation of Broward, McQuaid began assembling LINEAGE. “It’s been the most cathartic and difficult work of my life so far,” she says.
Some works put familiar elements — family portraits, heirlooms — into unexpected settings.
“Placenta” is composed of 600 bio-art pieces employing household materials specific to different phases of childhood. McQuaid used each item to grow mold in petri dishes and then sealed them in resin for display.
Three galleries are dedicated to a series called “Chemical Reaction,” sixteen mixedmedia works on plexiglass circles made in response to soundscapes from more than a dozen local musicians including Chris Horgan of Sweet Bronco, Brady Newbill of Nervous Monks and Lindsey Mills of Surfer Blood “I selected these musicians and asked them to respond to the question, ‘Who in your early life made you feel most accepted?’” McQuaid says. “The results are gut-wrenching compositions of sound, and the correlating family stories they told are just as moving.”
LINEAGE opens 6:30pm Friday, July 18 with an artist reception at Bailey Contemporary Arts in Pompano Beach and runs through September 13.
OS MUTANTES
by olivia feldman
If Frank Zappa, The Beatles and a samba parade got together and made a baby, they might have created Os Mutantes. Wild, weird and ahead of their time, they helped revolutionize Brazilian music in the late 1960s, and influenced numerous pop and rock artists decades after their peak of fame.
Formed in São Paulo by multi-instrumentalist brothers Arnaldo and Sérgio Dias Baptista and Arnaldo’s girlfriend, singer Rita Lee, the trio used distortion and feedback in ways that were almost alien to ’60s and ‘70s Brazilian pop.
As members of Brazil’s Tropicália music movement, they rebelled artistically against the country’s military dictatorship by melding traditional Brazilian and African sounds with psychedelic rock and vocal pop harmonies.
Along with fellow Tropicália artists Gilberto Gil and Caetano Veloso, Os Mutantes were at odds with Brazil’s pre-democratic, authoritarian hyper-patriotism. But they were more openly provocative. Napoleon costumes and vulgar pantomime were sometimes part of the stage show, as the band encouraged Brazilians to join in being beautifully, bombastically strange. Kurt Cobain and Beck would later state their admiration for the band, with the latter’s album, Mutations, named after them.
Each track on their self-titled 1968 debut are all worthy of dancing to — in your room with a lava lamp. Standouts include “A Minha Menina,” “Panis et Circenses” and “Bat Macumba.” But it’s not until the 1970 single, “Ando Meio Desligado,” that their music really transformed into pure rock and psychedelia. It starts out smooth: fuzzy wah-wah guitars accompanied by Lee’s trance-inducing croon. Then it builds and crashes into a freaky finale of frantic keyboards and moaning vocals, and a guitar solo that just might melt your brain.
Original member Sérgio Dias revived the band in 2006 after an almost 30-year hiatus. Returning to stages in a far more technological era, Os Mutantes are keeping alive an analog-era spirit of funky rebellion. As recently as 2020 the band was still putting out new music that sounds fresh, unhinged and fearless. In some ways, they’ve never really left the music scene; they were and are a glittery tropical fever dream that reappears right when we need it.
WARPED TOUR RESPECTS
by amanda moore
The original Warped Tour — bless its angsty, sweat-soaked soul — was the summer sanctuary for misfits, eyeliner addicts, and every kid who ever carved lyrics into their Converses. And you won’t need a time machine or a $150 festival pass to one of the official summer reunion shows to feel that rush again.
On Saturday, July 5th, Respectable Street is bringing the noise and the eyeliner for a full-throttle celebration of punk, screams, and teenage dreams. Welcome to Warped Tour Respects, the ultimate tribute to the golden age of Warped.
You’ll shout “So long and goodnight” when Take This To Your Grave blasts through My Chemical Romance deep cuts and Fall Out Boy’s anthems of suburban despair. Mass Revival, will provide the pit-fueling, post-hardcore fury of August Burns Red and Norma Jean Live From 05 turns back the clock with a pitch-perfect Paramore tribute that’ll make you want to dye your hair red and scream “That’s What You Get” like it’s your personal gospel. And just when your voice gives out, We’re Wolves will rip you wide open with numetal ferocity, fusing Linkin Park’s angst with the unfiltered grime of early 2000s alt-radio. Closing the night, The Burn Club delivers the punk-purist punch of Rancid
The mind behind this resurrection is concert promoter Alex Bauman, owner of The Limitless Agency and one of South Florida’s unofficial mayors of alt music. “There’s no Warped Tour anymore—so we built our own,” Bauman tells PureHoney. He’s been throwing shows for over a decade, watching generations scream through heartbreak, come of age in basements, and return to the stage years later, fists still clenched and hearts still open.
Respectable Street, with its history of brat-pop, goth cuts, and indie rock, is the only place worthy of this revival. “It’s vibrant and dark,” Bauman says. “One night it’s shoegaze, the next it’s Escape the Fate, then of Montreal.” On July 5th, it’s Warped—or at least the spirit of it, screaming back through the amps.
Warped Tour Respects kicks off 7pm Saturday, July 5 at Respectable Street in West Palm Beach.
ROSS PINO
by kelli bodle
Hearts carved into buildings as monuments to eternal love have existed for centuries, stretching into the Victorian era. New York-based artist Ross Pino continues the bloodline in his painted canvasses — resurrecting, alongside the hearts, other Victorian obsessions such as skull iconography. Pino is about as far away from Victorian as one can get — a skateboarding, tattooed, dark wave enthusiast — but in his work he charmingly reflects age-old concepts through a 21st Century sensibility.
Born in Albuquerque, New Mexico in 1988, the PureHoney artist of the month started out skateboarding and listening to classic rock stalwarts like Led Zeppelin, Pink Floyd and Jimi Hendrix. He dropped out of school in eleventh grade to work for his dad, but injured himself skating and ended up losing his job.
Once healed, he focused on skating full-time and became a touring professional. Winding his way around the U.S., Pino eventually landed in New York, where he’s lived for 16 years and where he came into his own as an artist.
Anyone with a passing knowledge of street style from the ‘90s-‘00s will recognize the skull and heart symbolism in Pino’s work. His self-taught style won’t disappoint those looking for generational cues, but these totems of counterculture are more than nostalgic relics in his hands. They are elevated.
The artist came to this pairing of ideas personally. As he explains it, “The skull resonated with me. There was a juxtaposition within myself. Things were happening in my life.” He was, he recalls, “slowly starting to feel a bit empty.”
On his journey from pro skater to pro painter, Pino took a detour through acting, modeling, and New York’s night life. He experienced huge opportunities in a world that is dizzying and glamorous and, for new talent, filled with temptations that can pose threats to health and well-being.
At this juncture, Pino decided to go back to school. “I poured myself into a community college out here on Long Island,” he says. “I learned about art history, and that was one of the pieces that I was missing because I didn’t know the world behind art or the language that you speak when it comes to art.”
Pino was also learning more about himself. “After some choices that I made, mental health stuff started creeping in, and I realized that the world is kind of dark and ugly,” he says. “I couldn’t wrap my mind around why I was feeling that way. I had never felt that way. How could I find myself back in a place of purity or love or light?”
“I realized that life is a journey and you cannot have the highs without the lows. There is a duality to life based on the decisions and choices you make. We reap what we sow.” he says. “I understood that to live a better life, to have more meaning and positivity in my life, I had to start making better choices. I had to believe that I could change. I’m able to be forgiven for my sins. I can’t continue beating myself up over the hard and trying times.”
“Within the skulls, in the hearts there is that love language of duality. You cannot have one without the other. That’s the chemical makeup of life: death and decay; love and positivity,” he says. “The skulls aren’t evil. They are memento mori, where it’s like, live life to the fullest today, because tomorrow isn’t promised. Also, we’re all going to end up as a skeleton at the end of the day.”
Pino’s painted skeletons often end up as charitable items. He teams up with multiple charities while also serving as co-chair for Gabrielle’s Angel Foundation for Cancer Research, donating paintings to auction to help with fundraising.
Asked what he’s got on repeat on his playlist, he says, “My number one is the Viagra Boys. They’re like, ‘We don’t play by the rules. We create our own rules.’”
While continuing a long tradition of heart-and-skull iconography, Pino has molded these symbols into his own special painterly language. He’s certainly playing the art game by his own rules. And winning.
Follow Ross Pino at instagram.com/rosspino88 and rosspino.com.
JULY 2025
The common make to Michael all the fandom damage.
to the Miami Beach Bandshell at 61 years presence who got his start as a 14-year-old.
At age 18, Jamaica native Levy released a Shaolin Temple, Bounty Hunter, Shine Eye Gal calendar year, 1979, and established Levy’s soulful American r&b. As his career unfolded, known as dancehall, differentiating it from the Tosh popularized.
Beloved in Jamaica, Levy crossed over in 1985 on the U.K. pop charts and sounding like nothing
Hearing Levy’s smooth patois crooning over consider that “Here I Come” shared airspace
The song peaked at No. 41 on the February Don Henley’s “The Boys of Summer” and two
There were other hits like “Murderer” and “ by everyone from Snoop Dogg to Gorillaz checking out above all else is the beyond-trippy song by Handsome Boy Modeling School features Del the Funky Homosapien before Alex Kapranos
The sum is even more than the parts as Jamaican Britpop meld into perfection that will take up might even lead some showbiz parents to get on stage.
Barrington Levy performs 7:30pm Wednesday, barringtonlevy.com
Bleeth’s music is inevitably — and correctly — those adjectives being reductive. The band fits crowd, and metalcore diehards. They range across Jesus Lizard, Helmet, Health, Full of Hell, Sonic rumble into ethereal space, clutching what sounds They’re also delighted to talk about their interest
To celebrate the release of Marionette at Bar lineup very much in the tight-knit spirit of a
NGY will play their own variations on heavy relentless, overwhelming, atmospheric beauty
The band was also kind enough to let a PureHoney the forthcoming EP. The evolution of Bleeth’s apparent, and staggering. Before the recordings, unique dynamism, energy and inspiration to Bleeth’s that will hopefully not be bottled up for long or Bleeth, w Mold!, NGY and Palomino Blond
BLEETH
While the third does, Bassist-vocalist Drummer into days Addresses were with drums Lauren with conversation Mojena fondness and particular
ANA FARINA
MACKLIFF
BARRINGTON LEVY
by david rolland
common conception is that child stars don’t make it off the stage unscathed. People point Michael Jackson or Britney Spears and figure the whipsawing from an early age between fandom and ridicule must do permanent damage. Yet here’s Barrington Levy coming young, a steady and remarkable reggae 14-year-old.
a quartet of LPs that established his sound: Gal and Englishman all came out in the same Levy’s bumping fusion of traditional reggae and unfolded, his groove-minded style came to be the roots reggae that Bob Marley and Peter
1985 with a hit single, “Here I Come,” landing nothing else in heavy rotation at the time. over steel drums today, it’s awesome to airspace with some of the most iconic of the ’80s. February 16, 1985 UK singles chart, two spots below two spots above Soft Cell’s “Tainted Love.”
Black Roses,” and collaborations on tracks
But the Barrington Levy guest spot worth beyond-trippy “The World’s Gone Mad.” The 2004 features Levy taking vocal turns with rapper Kapranos of Franz Ferdinand joins in for a verse. Jamaican dancehall, American hip-hop and up permanent residency on your playlist. It push their young prodigies even harder to
Wednesday, July 23 at Miami Beach Bandshell.
BLEETH
by erik kvarnberg
While Miami post-metal trio Bleeth worked on the making and rollout of their recently released third LP, Marionette, life continued, as it often does, to pull the band in other directions. Bassist-vocalist Ryan Riva’s house burned down. Drummer Juan Londoño was refused entry back into the United States after Bleeth had spent ten days in Mexico City recording tracks.
Addresses changed, jobs ended and babies were born. Bleeth eventually regrouped with Hector Mojena of SUMO taking over drums alongside Riva and guitarist-vocalist Lauren Palma. The band recently sat down with PureHoney ahead of a rehearsal. The conversation covered their first recordings with Mojena (for an EP due closer to 2026), their fondness for the late live-music club Churchill’s, and some of their favorite local dining spots (in particular Naomi’s Garden).
— described as heavy and brutal, but without in with punks, doomers, noise artists, the grunge across visceral frequencies encompassing The Sonic Youth, Sunn O))), and Electric Wizard. They sounds like a love letter to bone-rattling bass. interest in atonal classical music.
Bar Nancy in Miami, they’ve assembled a live Churchill’s show. Palomino Blond, Mold!, and heavy before the show culminates with Bleeth’s beauty and power.
PureHoney correspondent listen to a rough mix of style with a new drummer aboard was readily recordings, Mojena was already bringing his own Bleeth’s sound. And now it’s there in new tracks or delayed by life’s unscheduled demands.
