Non La is the solo project of queer, Taiwanese-Vietnamese musician DJ On (Thee AHs, TV Ugly), dedicated to queer storytelling. On released his debut album Not in Love with local label Kingfisher Bluez, and the album was named one of the most anticipated Canadian album’s of 2020 by Exclaim! Magazine.
We're very happy to be releasing music from Non La starting with a cathartic new single called "Homes" - out today! Stream the single wherever you listen to music.
On said, "The song is about the complex feelings at the end of a relationship. Though I have hurt and resentment I feel for the other person, I still hope that things could turn around and that the relationship could be somewhat repaired."
The technicolour music video depicts moments of queer joy, love, and tenderness. Watch it now.
Faith Healer fans, the long wait is over. It's been 6 years since the band released Try ;-) and today we're happy to share that their forthcoming record The Hand That Fits The Glove is coming out October 13 on Mint!
Faith Healer quietly crystallizes on their new album The Hand That Fits The Glove, reshaping their already approachable pop sound into something even more immediate and invigorating.
With their 2017 album Try ;-), the duo of Jessica Jalbert and producer/multi-instrumentalist Renny Wilson began stripping away some of the ‘60s chamber pop influences that had informed the earliest Faith Healer material, and these eight new songs continue expanding outward in new directions. It’s a multi-colored assortment of richly-detailed songwriting that feels surprisingly straightforward, knowingly concealing its complexities always just beneath a sheen of composed cool.
The evolution that brought Faith Healer to this point has been ongoing since the project’s earliest days. Jalbert and Wilson had been working together since the time when Jalbert was still performing under her own name in the early 2010’s, transitioning to the Faith Healer moniker on 2015 album Cosmic Troubles and their creative partnership truly solidifying with Try ;-). Those albums were built from the ground up with an insular design, with sole contributors Jalbert and Wilson adding overdubs and sculpting the sound. The core Faith Healer duo expands their membership for the first time on The Hand That Fits The Glove, inviting additional musicians into the picture and filling out the sound with a live band feel. Players from various intersections of Canada’s indie circles played on the album, including contributions from long-time Faith Healer collaborators like Jenni Roberts (who’s also done some time as a touring musician on runs with TOPS and Calvin Love), Mitch Davis (a solo artist with work out on Arbutus), Conor Donaldson (sometimes drummer for Mac DeMarco), and Ross Nicoll. Jalbert and Wilson worked intermittently with different personnel in different settings, meticulously refining songs over time until they were dialed in with precision.
The end result is an album that flows effortlessly and remains refreshing and bright even when gliding over rough emotional edges. Waves of airy synths and understated shifts in arrangement steadily build on “The Game,” pushing along the song’s insistent hooks as it grows into a woozy sparkle. Some of the soft psychedelia of the band’s earlier work resurfaces on tracks like the pulsating glow of “I’m A Dog,” the tripped out rocking of “Stranger,” or the distant groove of “Green Velvet,” with the live band playing adding a breathable, open-air quality to deftly architected song construction. The overpoweringly catchy “Another Fool” presents one of the most controlled examples of Faith Healer’s perfectly-metered sound, bringing together the smooth atmospheres of Montreal chill with the less aloof but equally sophisticated breeziness of late-’90s lounge pop acts like Saint Etienne or the Cardigans. Jalbert approached the lyrics to these songs with a heightened intentionality, trying to inspect the substance of every line. Themes of frustration, pointlessness, and world-weariness rise up and recede, always counterbalanced by the optimism and ornate production of the music.
Even in the album’s most electrified passages, Faith Healer never overplays their hand. Throughout its various turns in mood and presentation, The Hand That Fits The Glove feels consistently cool-headed and congenial, with Jalbert and Wilson guiding us through every carefully considered step of the journey. It’s an album that instantly takes the temperature in the room down by a few degrees, and one that will inspire repeat listenings in hopes of keeping its particular and revivifying vibe going just a little longer.
You know Neko Case, and you know Carolyn Mark, and we’re excited to introduce you to our latest signing, Nora Kelly Band!
Nora Kelly formerly led the post-punk band DISHPIT before embracing country music during COVID, and the band was born of jamming by the train tracks of Montreal’s Mile End neighbourhood. People flocked to listen and sing along–until the cops chased them off.
Nora Kelly Band first caught our attention when they released the song “Hymn for Agnostics” off their Perfect Pig EP. Today Nora Kelly Band shares their new single "Lay Down Girl" and announce their debut album, Rodeo Clown, which arrives August 25 on Mint!
Rodeo Clown was written by Nora Kelly, produced by Kelly with Ethan Soil, and mixed by Pietro Amato (The Luyas/Belle Orchestre).
Going clown-mode runs deep with this first single and accompanying music video. When people think “clown” they think funny, or maybe creepy, but always of that painted smile. For a song about overcoming one’s tendency to people please, a painted smile makes for the perfect metaphor. Watch the videodirected by Gabie Che.
“The lyrics to this song were direct advice that I was giving to myself, to stop being a ‘Lay Down Girl’,” notes Kelly. “To stop staying put, acting sweet and putting everyone else first. Other people’s approval had been my priority for so long that over time my connection to what I liked and what I wanted had become weak. The lyrics are advice to this former self, with a chorus that chants, ‘I’ve been a fool…I’m going back to school, but this time my education’s gonna be ‘bout myself.”
If you are one of the millions of people watching Yellowjackets right now, you may have already spotted Necking playing the song "Big Mouth" off their debut record Cut Your Teeth at the 8:19 mark of Episode 205: Two Truths and a Lie.
Shot at Grandview Lanes on Commercial Drive, our very own Necking grabbed a few moments of screen time, appearing as the performing act at a bowling alley while their song played through the entirety of the scene.
Multi-disciplinary artist Vivek Shraya has a body of work that crosses the boundaries of music, literature, visual art, theatre, and film. Among her list of accomplishments is an impressive catalog of music—including the Polaris Prize-nominated Part-Time Woman with Queer Songbook Orchestra (2017) and Angry by her band Too Attached (2018), which CBC described as one of “Canada’s most incisive, radical and galvanizing albums.”
After twenty years of releasing music independently, Vivek will make her label debut with Baby, You’re Projecting, a visual albumwhich comes out on Mint Records on May 12, 2023.Unlike her previous musical offerings, which were more sonically compartmentalized, Vivek endeavoured to create a genre-fluid album. Inspired by great female-fronted pop records (including janet. by Janet Jackson, Sheryl Crow’s self-titled album, and Lemonade by Beyoncé), Baby, You’re Projecting holds the breadth of Vivek’s sound and style in one space. Ranging from house to hip hop to country, Vivek’s singular voice and songwriting holds the record together and resonates in every genre.
Produced by and co-written with frequent collaborator James Bunton (Donovan Woods, Ohbijou), Baby, You’re Projecting is a break-up album that explores Vivek’s tenuous relationships with men. The danceable “Good Luck (You’re Fucked)” is an empowering pop anthem for women and femmes clapping back at male fragility. The swelling ballad “He Loves Me Until He Hates Me” exposes the underbelly of male affection against a backdrop of sharp strings by Drew Jurecka (Dua Lipa, Rose Cousins). And the twangy “Colonizer” circles around the unique complexity of being in an interracial relationship. The record also features performances by Alanna Stuart (Bonjay), Christine Bougie (Bahamas, Amy Millan) and Kimmortal.
Baby, You’re Projecting is being co-released with a 12-minute film titled “He Loves Me Until He Hates Me,” set to songs from the record and directed by award-winning cinematographer Gabriela Osio Vanden. Taking inspiration from 90’s classics like The Bodyguard and erotic thrillers, the film creates a meaningful (and playful) look at the unpredictability of masculinity—how it can fluctuate in insidious ways within a relationship, how one can be worn down in this type of power dynamic, and worse, how that can turn into lateral violence towards other women.
Baby, You're Projecting
He Loves Me Until He Hates Me
I Miss My Friends
He Doesn't Listen To Me
Good Luck (You're Fucked)
I Have To Forgive Myself
Cut Me Out
Baby, You're Projecting is out on Mint on May 12, 2023 and will be available digitally and on vinyl. Pre-orders are now available here.
Declaring their resolution to party down in 2023, Miesha & The Spanks are hitting the town with a fresh coat of lipstick, a dapper bolo tie and a vibrant new single, “It’s My Year,” the first single off their forthcoming album titled Unconditional Love In Hi-Fi.
Doin’ it all for the glam, the Calgary-based duet smashes through the subterfuge of self-doubt like a house of mirrors. A John Hughes movie come to life, Miesha’s siren to banshee self-actualization manifests in an array of fervent guitar riffs and the rhythmic method of Sean Hamilton’s cardiac-arrest-reversing percussion.
Recorded at the world-renowned National Music Centre (Calgary AB) under the capable ears of producers Daniel Farrant and Paul Rawson, this new single and its accompanying video cast a golden glow of optimism over the future.
Flourishing alongside alt-rock show ponies Wet Leg, Alvvays, Fleshwater, Black Mountain and Yeah Yeah Yeahs, Miesha & The Spanks are set to shatter expectations in 2023. It’s a new era, and Joan Jett and Cyndi Lauper are the preeminent deities of divadom. Get primed to unpack your hot pants and freestyle your way through the roaring twenties. The sparkling single, “It’s My Year,” pops the cork on endless possibilities with sassy, coquettish vocals and a decadent carpe diem vibe.
Shouting out her rebellious philosophy with an impressive hardcore energy, Miesha’s mindset clears the calendar with an affirming blast of radio-rock. Flashy dips and double-proof highs swirl in harmony as the pair shimmers and shimmies through every grungy note and impassioned chorus.
Another tantalizing banger that teases more from their forthcoming full-length album, “It’s My Year” unveils a provocatively adventurous side of Miesha & The Spanks’ anthemic indie rock jams, while breaking out the first scrappy-yet-danceable hit of 2023.
Mint Records is thrilled to team with Only A Visitor to release the Vancouver quintet’s fourth album and Mint debut, Decay.
The announcement comes with a new single and music video for “Fraud of Finery,” directed by Lief Hall.
“It was incredibly inspiring bringing together the dance improvisations of Justine Chambers and the beautiful music of Only A Visitor. It was an exciting challenge to find that perfect interplay between the movement and sound…I looked for those gestures and musical forms that had a kind of indescribable resonance together.” - Lief Hall
Only A Visitor’s Robyn Jacob describes “Fraud of Finery” as “a song about being close but yet so far, reaching over barriers of communication, and showing love and connection through the digital versus the tactile. The music takes a simpler turn with a meandering, stripped down chord progression that cycles through each verse. A slow, romantic waltz that reaches into the chorus with expansive harmonies on the lyrics ‘be apart, be a part.’”
Described as “Bjork's light-footed nymph child,” (Beatroute) Vancouver quintet Only A Visitor bring a precise and buoyant live energy to song-crafting with their “kaleidoscopic compositions” (Dusted Magazine). Fusing together avant-pop, jazz, classical, and DIY influences and substituting guitar with three-part harmonies that “display a delightful innovation” (HuffPost), they have released three albums to date and have recently signed to Mint Records for their fourth release, Decay. Since forming in 2015, they have appeared at the Montreal, Halifax, Ottawa, Toronto, and Vancouver Jazz Festivals and the Vancouver Island Music Festival, among others, and have toured Canada and internationally. With drummer Kevin Romain, bassist Jeff Gammon, and vocalists Emma Postl and Celina Kurz, classically trained but DIY-nurtured songwriter and arranger Robyn Jacob wraps gently asymmetrical sonic tendrils around pop skeletons.
Decay was recorded, engineered, and mixed by Joseph Hirabayashi and mastered by Brock McFarlane at CPS Mastering. With their additional finesse, Only A Visitor capture a vibrancy at once fluttering and serene. They reach a harmonic balance that seems impossible on paper but lives in each of Decay’s nine tracks and works as well as the delicate vocal interplay between Jacob, Postl, and Kurz; hear for example “Degree by Degree,” an undulating track in constant motion. Sparse, spacious arrangements on “All You’ve Held” and, most exemplary of all, the a capella “A Whole of a Life” allow the dynamic vocal range between each singer to rise to the fore. Never pushy with forward-thinking sensibilities reminiscent of the Dirty Projectors and Joanna Newsom, Decay is a subtle suite that contains more depth than its levity suggests.
Only A Visitor’s exacting sound is deceptively relaxed and playful on Decay, leaning on the darker side compared to past releases. Exploring themes such as memory and its disappearance, the ephemeral and cyclical nature of existence, the chain of generational knowledge transfer, and the fruitful potential of things breaking down, the album is a nod towards returning: to the places of your childhood, to the land, to living with integrity and sincerity through a whole life and towards its end.
Pre-Orders for Vinyl/CD/Digital are now available on the Mint Webstore.
“The Vancouver quartet is restless and ruthless, making rowdy post-punk that questions and analyzes everyday life.” –Stereogum
“Dumb lace their upbeat songs with jagged dissonance to keep things weird.“ –Exclaim!
“The sound is the sort of angular-but-melodic new wave that doesn’t grow old like punk and hardcore did long ago” –Vancouver Sun
DUMB had a classic start as a DIY outfit back in 2015, playing their first shows in the dining room of a tear-down in east Vancouver. The four band members, Franco Rossino, Shelby Vredik, Pipe Morelli, and Nick Short, were all part of a larger group of friends that jammed and partied together often. Seven years later, the band is set to release their third LP with Mint Records, Pray 4 Tomorrow—self-recorded at Choms, a studio co-owned by Nick Short and Franco Rossino. DUMB has toured extensively in North America and Europe, played with Wolf Parade and Dilly Dally, and are known for their catchy punk rhythms, squealing guitar feedback, and strongly spoken lyrics.
Over the years DUMB’s songwriting has developed, and on Pray 4 Tomorrow their pop sensibilities manage to shine through the dissonant tones and syncopated rhythms borrowed from Yo La Tengo and Devo. Consider “Excuse me”, which finds a Beach Boys-esque melody placed gently atop the drop-tuned dissonance of Rossino and Short’s duelling guitars, or “Gibberish”—a heavy hitting post-punk bop that culminates in a melodic instrumental piano outro. DUMB is doing their best to balance their noisier tendencies with pretty melodies, in an approach similar to San Francisco’s Pardoner.
Rossino’s vocals have matured from abstract rambling towards nuanced commentary, often poking fun at his own self-righteous attitude towards the stress of living in the information age. In “Out of Touch”, Rossino yells “I can see you talking but it sounds like simulations, I’m not sure I’ve got the patience, I’m already full of shit”. In “Gibberish” Rossino sings “thank you kindly but I think I’ll keep my eyes closed” on wanting to shut out the constant stream of targeted advertising.
Pray 4 Tomorrow is DUMB’s most refined album to date, but also their most eclectic mix of influences. There’s something for everyone on the album, with two Specials-influenced Ska interpretations, a couple of folk tunes with vocals from bassist Shelby Vredik, and a series of Minor Threat style B-side rants, all enveloped in the unique post-punk sound that the band has honed over the years.
Vancouver-based queer synth pop icons Kellarissa and Devours have released an end of summer banger called “Change My Mind” and share upcoming joint tour dates.
Kellarissa (Larissa Loyva) and Devours (Jeff Cancade) were drawn to one another as kindred spirits longing to carve out a space for their queer, pop-infused synthwave. After touring together in 2018, it was a natural progression to collaborate on a song, which finally materialized in the fall of 2020 in the form of "Change My Mind". They've been patiently scheming ever since to unleash it upon unsuspecting fans. Cancade laid out the tracks and fleshed out the chorus, while Loyva contributed the verses, their voices effortlessly blending together to create a bittersweet anthem about having second thoughts in a relationship.
8/21 - Record Release Show @ The Lido (Kellarissa w/ The Golden Age of Wrestling) 9/3 - Wonderhorse (Devours) 9/8 - Victoria - TBD 9/9 - Nanaimo @ City Hole 9/10 - Cumberland @ Masonic Hall 9/11 - Gibsons @ ‘Postrophe 9/17 - Vancouver @ Anza Club w/ Total Chroma 10/1 - Pop Montreal (Kellarissa)
‘My life: a slow clap progression, pace rising; to celebrate in the smallest finding - feels right to show admiration that grows,’Mark Grundy begins on “Slow Clap”, the first track from Heaven For Real’s sophomore full-length Energy Bar, out September 16 on Mint Records.
Formed in 2012, and consisting of songwriter twins Mark and J. Scott Grundy (Quaker Parents) and their frequent collaborators, drummer Nathan Doucet and synth player/percussionist Cher Hann, the Toronto by way of Halifax project has been taking time to shape the follow-up to their 2016 Mint debut, Kill Your Memory. Springboarding from their early 2022 EP, Sweet Rose Green Winter Desk Top Tell This Side Autumn Of The Fighter Hot In A Cool Way, they describe the project as a “living collaboration”, one that strives to compress life’s truths into a distorted reflection of all of its facets.It’s this that drives Energy Bar–a hyper, trash-compacted mosaic of the band ten years in that’s simultaneously dreamlike and alive.
Recording the album with Jonas Bonnetta at Port William Sound, H4R aimed to cultivate an electrically charged live energy, which they fuse with rich and playful compositions. Tracks like “Lately” and “Energy Bar” are defined by tireless, wired drums, around which are woven buoyant guitar lines, sounding at times like the weirder shades of bands like Meat Puppets, Prefab Sprout and even early Cate Le Bon.Included too are hints of The Feelies, Mdou Moctar, Built To Spill and Cast; Heaven For Real’s approach is an experimental one, yet one unafraid to embrace genre as a tool for expression.
“Slow Clap” introduces the themes of the record; those of winking affirmations, of accepting all the different angles of reality, and of keeping one’s eyes open to the tactile physical world (Can You Believe It?). The lyrics here are incisive yet poetic, and you believe them when they opine: “I won’t take the grit of confession way lightly.” “Do Your Worst” is a meditation on frustration and dishonesty, while “Wait in the Doorway” is an oblique kind of love song. On album highlight “Years In My Mirage”, a nervy, subtly-built tension is released into feverish guitar licks, while dissecting the brutal futility of chasing a preconceived path.
This is a rare kind of album, capturing with gentle truth the endless streams of wonder and failure that make up the everyday. There’s a dense and mysterious world here, with grasps at brief moments of understanding before it all shifts again. They bookend the record with the closing track “Noon Riser”: “We are more than all that we confess.” “It’s hard to admit what you are, and even then you are more than that. And that’s hard too; but don’t worry.”
"Multiple spins reveal a fully functioning universe that becomes increasingly familiar as one's ear-holes begin to acclimate to the pressure changes." - James Christopher Monge, Allmusic
"These folks are creating artsy pop that has some peculiar qualities but is ultimately very listenable and TOTALLY addictive." - Babysue.com
Do Your Worst
Wait In The Doorway
Further The Thrill
Years In My Mirage
Take It Away
RIYL: The Feelies, Mdou Moctar, Built To Spill, Cate Le bon