On Miami Memory, Cameron extols the beauty of love while singing about sex, family, and responsibility with unabashed candour. But he never shies away from the ugly sides of love, the trying demands of commitment.
Alex Cameron's third album, Miami Memory, is still some kind of monster, but it has drawn in its teeth and is laughing with the family.
Alex Cameron has a talent for writing witty and smart songs about love and masculinity from a male perspective.
Sincerity and quick-smarts from Australian showman.
Miami Memory ... mixes Cameron’s obligatory sex gags with more of his personal life than ever before, at times threatening to unveil who he really is these days.
While casual listeners may find this humour flippant, given the topics explored on Miami Memory, closer listens reveal a mature and surprisingly au courant album that grapples with complex social issues in a commendably fearless way.
What you’re left with is ten great pop songs; bitingly funny, bombastically anthemic and gently sensual, often at the same time.
Miami Memory displays an increasing, albeit cautious, capacity to divert from a well-trodden trail; seeing Cameron’s confessional voice explored and defined to a degree previously unseen in his output.
Cameron's third full-length sees him take on female perspectives to the toxic masculinity problem.
By stripping away the ickiest qualities of his music, he may have strengthened his appeal.
On Miami Memory, the move to self-narrative works in his favor.
This one is the best produced, most catchy, and most vulgar of his catalog up until this point.
It looks like we’re at 100 percent authentic Alex Cameron, and Miami Memory—a sort of Portrait of the Artist as Someone Else’s Man—finds him reaching new heights, raising the bar for himself, not content to tread familiar ground.
Alex Cameron’s third effort is by some lengths his biggest departure.
The archly comic musician, who has formerly adopted toxic fictional personas, dials down the irony for a semi-sincere album that feels tonally awkward.
Miami Memory feels like a stuffy reheat of Forced Witness’ groovy ’80s synth-rock.
The same trick again sure, but the ‘all the gory details’ storytelling in the verses building up to the pratfalls that are the conventional chipper and/or chest thumping ‘heartland rock’ style choruses that are hilariously miscast in this context - born of the delusions, self lies and dopey logic of these beyond-hope characters - is a concept with a lot of mileage.
The other winning element is that once you’re familiar with the lyrics you can then focus less on ... read more
A new Alex Cameron
So, last year, I was introduced to Alex Cameron. I didn't know anything at all about him or his music as a whole, all I knew was that Fantano liked this album a lot and that the album cover looked really interesting (it's actually one of my favorite album covers of all time). This was my introduction to who Alex Cameron was, and what his music was all about. I honestly couldn't believe it, but I had loved almost every second of this project. You may be wondering why I ... read more
As a recovering Floridian, the sleazy, rundown neon sign-lit vibe that Alex Cameron brings to the table is spot on for a record called “Miami Memory.” The man’s lyricism is as ridiculously scummy as ever, telling tales of romance that would be heartbreaking if the narrator didn’t deserve every bit of the pain, and the fact that I’ve had to stop myself from singing “I ate your ass like an oyster” MULTIPLE TIMES is a testament to how sticky the hooks can ... read more
Esse álbum é muito divertido e engraçado, a escrita de Alex Cameron carrega momentos hilários com jogos de palavras ou momentos diretos de humor, sem com que, perca na parte musical, sendo um bom álbum de rock suave e com uma leve mistura de folk, com a presença de um violão acústico. Sempre que retorno para algumas músicas, já abro um sorriso por conta das letras e da forma em que Alex canta.
1 | Stepdad 4:15 | 84 |
2 | Miami Memory 4:25 | 74 |
3 | Far from Born Again 4:16 | 86 |
4 | Gaslight 4:25 | 89 |
5 | Bad for the Boys 4:38 | 85 |
6 | End is Nigh 3:04 | 79 |
7 | PC With Me 2:33 | 80 |
8 | Divorce 3:12 | 86 |
9 | Other Ladies 3:45 | 85 |
10 | Too Far 4:05 | 87 |
#9 | / | Les Inrocks |
#9 | / | Slant Magazine |
#9 | / | The Needle Drop |
#76 | / | Under the Radar |