www.myspace.com/miamiamiami

Mi Ami is committed to their own particular joyful noise, to the intersection of vicious high-energy playing with ebullient communal experience. To this end, the live shows are about creating a vibrant emotional space in which waves of music/sound guide the band and audience through a psychic space marred with claustrophobia, paranoia and dread, yet emerging into the light of ecstatic being.

In 2010, pretty much every band on the planet has some dub records at home and a few boutique effects pedals in their “rig.” The rise of Ethiopiques and high-quality afrobeat-etc compilations, pan- genre tastemaker websites, specialty blogs and a general cultural climate of chic, post-”world music” exploration has rendered normal--even mundane--the multi-culti-record-nerd-musician who was part of an iconoclastic, forward thinking avant-garde only a few years back. Legend has it that when Fugazi came on the scene, the punx were shocked at their incorporation of funky basslines and slower tempos. These days, the tables have turned and a working knowledge of rap, disco, dub, club and world music basics is as pedestrian as eating a burrito for lunch and Thai for dinner. By the same token, the once-stifling constrictions of hardcore so beloved by those self-same punx have mutated into a semi-classical freedom for a few brave souls. As with late-period Coltrane, the ultra-assault of Infest or Negative Approach has become a field of study for those wishing to purify their rage into a constantly accelerating attack. Unlike that musical prophet, however, the ragers of today find the most success (to my ears) in mining a well- established sound and bringing it back to life with convincing fervor. It sounds great, and it’s not too muddled by a lot of cumbersome thinking. To wit, the same principle applies to much of the lo-fi, beach-centered rawk ‘n’ roll that’s coming out of the cassette four track nation, with the only impor.......
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Mi Ami is committed to their own particular joyful noise, to the intersection of vicious high-energy playing with ebullient communal experience. To this end, the live shows are about creating a vibrant emotional space in which waves of music/sound guide the band and audience through a psychic space marred with claustrophobia, paranoia and dread, yet emerging into the light of ecstatic being.

In 2010, pretty much every band on the planet has some dub records at home and a few boutique effects pedals in their “rig.” The rise of Ethiopiques and high-quality afrobeat-etc compilations, pan- genre tastemaker websites, specialty blogs and a general cultural climate of chic, post-”world music” exploration has rendered normal--even mundane--the multi-culti-record-nerd-musician who was part of an iconoclastic, forward thinking avant-garde only a few years back. Legend has it that when Fugazi came on the scene, the punx were shocked at their incorporation of funky basslines and slower tempos. These days, the tables have turned and a working knowledge of rap, disco, dub, club and world music basics is as pedestrian as eating a burrito for lunch and Thai for dinner. By the same token, the once-stifling constrictions of hardcore so beloved by those self-same punx have mutated into a semi-classical freedom for a few brave souls. As with late-period Coltrane, the ultra-assault of Infest or Negative Approach has become a field of study for those wishing to purify their rage into a constantly accelerating attack. Unlike that musical prophet, however, the ragers of today find the most success (to my ears) in mining a well- established sound and bringing it back to life with convincing fervor. It sounds great, and it’s not too muddled by a lot of cumbersome thinking. To wit, the same principle applies to much of the lo-fi, beach-centered rawk ‘n’ roll that’s coming out of the cassette four track nation, with the only impor.......
more