Cassia Hardy's record In Relation is out on May 23! Here's an essay from the accompanying zine written by Rylan Kafara about the gentrification processes in Edmonton. 

Over the last twelve years, the land in downtown amiskwaciy (Edmonton) has seemingly transformed. This transformation is but the most recent iteration of a far broader process of settler colonialism. It was spurred by a major professional sports and entertainment development: Rogers Place arena, the $613.7 million dollar publicly-financed home of the Edmonton Oilers ice hockey franchise. Before the Oilers moved downtown and the area was renamed “Ice District” by the team’s owner, the Katz Group, this place was already home to many thriving and diverse human and non-human residents.

These residents were displaced through gentrification. The processes of gentrification reshape land and property. The land and property are bought cheaply and turned into profitable spaces of capital accumulation. In downtown amiskwaciy, this transformation began as soon as the arena deal was signed between the City of Edmonton and the Katz Group in 2013. Land and property owners were prepared for the deal. The Mayor at the time, a developer himself, used the arena as a catalyst to build skyscrapers like the Edmonton Tower and Stantec Tower, and move the museum, upscale businesses, amenities, condos, and people from other parts of the city to downtown. That Mayor then handed the keys to the city to the next Mayor, who was taught that boosting the deal would help his career. This continued a cycle that began during the settlement of Edmonton.

Civic-corporate partnerships are the crux of this cycle. They are beneficial for company profit margins, property owners, and political careerists, but they are rooted in transactional relationships of extraction and destruction.

In these types of relationships, public resources are funneled to private coffers. In the case of Rogers Place, the City of Edmonton took out a loan to build the arena, while every cent of revenue goes to the Katz Group for 35 years. By the time the City pays off the debt-financing of Rogers Place, it will likely be time to build a new home for the Edmonton Oilers. This is a cycle of planned facility obsolescence that is strategically employed by professional sport franchise owners across the continent. The City also gave the Katz Group the contract to build the Edmonton Tower, which houses City employees in return for the City paying increasing rates of premium rent in perpetuity. The Katz Group quickly sold the Edmonton Tower to an investment fund company in 2018, and then sold part of the Stantec Tower to a German real estate fund company in 2019 for over $500 million. 

These transactional relationships also demolish. The spaces used by pre-existing residents to rest, visit, and move around downtown were removed and paved over. The local Greyhound Bus Station shut down. The adjoining A&W coffee shop closed too. An art collective had its rent hiked until it had to disband. The cascading effects went on and on as creative and comfortable spaces were removed to help perpetuate further extraction. Non-human life was also erased. A nearby community garden tended to by unhoused residents had its lease terminated. The garden was evicted and the land was turned into a gravel parking lot. Where the arena now sits, birds had swam in pools of rain water. These pools were covered by concrete, laid across from an apartment building called the MacDonald Lofts. That building now sits empty.   

When Rogers Place opened, the Katz Group bought the MacDonald Lofts. The Lofts had housed those most ill-served by the housing industry. The Katz Group evicted the residents of the Lofts, and many were once again houseless, or subsequently passed away. Some of the Lofts’ residents later lived at Pekiwewin (Nêhiyawak/Cree for the act of coming home, an Indigenous-led encampment near the northern bank of the kisiskâciwanisîpiy (Nêhiyawak/Cree for swift flowing river). The kisiskâciwanisîpiy was also where racial capitalism first arrived with the fur trade, and Fort Edmonton was built in amiskwaciy in 1795. But Indigenous Peoples had been meeting, trading, and conducting ceremony on the bank of the kisiskâciwanisîpiy for far, far longer. In 2020, roughly 400 people lived at Pekiwewin from July-November. Before the police eviction of Pekiwewin, encampment residents, volunteers, and organizers participated in reciprocal, life-sustaining practices. These practices offered ways of living concurrent to the extractive and destructive conditions and confines of racial capitalism, and its ongoing modus operandi in Edmonton, settler colonialism. 

The recent story of Rogers Place and the Ice District development is but one example of life within the confines and conditions of racial capitalism in the settler colonial context. Capitalism can be more articulately understood as racial capitalism because it needs racial inequity to function. Since its beginnings during the Industrial Revolution, capitalism worked hand in hand with imperialism and slavery. Settler colonialism continues this inequity through an iterative process of settling and resettling territory through Indigenous dispossession, displacement, and erasure. Settlement began en masse in Edmonton in the 1870s. At that time, developers and land speculators stole land from the Papaschase, Métis, and other Indigenous Peoples.

 Settler colonialism and its processes of gentrification continue this iterative process today. The process occurs through large-scale developments such as Rogers Place, and smaller-scale instances of rent increases—unrestrained by rent control or other protective measures—and evictions. Gentrification is then sustained by the settler-state and its institutions—such as the police—by enshrining the removal of houseless Edmontonians, the majority of whom are Indigenous, from public spaces in both settler law and through practices like fines, arrests, and encampment clearings.  

Racial capitalism has only existed for a handful of centuries and for an even shorter amount of time in amiskwaciy. Gentrification has existed for less than a century. It’s only decades old. After oil was first extracted from beneath the surface of land near amiskwaciy in 1947, Alberta’s first oil boom began. This coincided with the worldwide “white flight” from urban cores in the 1950s, with wealthier white residents moving to the suburbs, leaving less affluent, largely racialized residents living downtown. On the prairies, this happened in tandem with the end of the pass system, which limited Indigenous Peoples’ mobility outside reserves from the 1880s to the 1940s. When the pass system ended, Indigenous Peoples began moving to downtown amiskwaciy, joining vibrant Black and Chinatown communities. These racialized communities were the focus of downtown gentrification schemes beginning in 1950. That year, boosters for a large-scale development called “the Miracle Mile” promised to bring wealthier white residents back downtown to visit what would have been the city’s first shopping mall. That development failed a public vote, and so did a project called the Omniplex in 1970, a futuristic development that planned to house both a football field and hockey rink, thanks to a moveable floor. 

The failure of the Miracle Mile and the Omniplex taught civic boosters important political lessons. Shortly after the failure of the Omniplex, Northlands Coliseum and Commonwealth Stadium were approved and built with public money, and the latter resulted in the displacement of an entire neighborhood of ethnically diverse and working-class people ahead of the 1978 Commonwealth Games. In the 1980s and 1990s, the downtown community was thriving, but confined, policed, and surveilled in a series of working-class pubs, hotels, and taverns. During a gentrification wave called the Quarters Revitalization beginning in the mid-2000s, all of these community hubs were demolished, renovated, or renovicted to serve more upscale tenants or cliental. 

Gentrification processes, from small to large scale, dispossess and displace pre-existing residents from their homes. Such negative impacts were detailed in Edmonton city planner reports from at least the mid-1960s. Even so, the processes knowingly continue in city planning today. In 2013, the social agency across from where Rogers Place was built, Boyle Street Community Services, bought its building in secret. Boyle Street’s leadership at the time knew the City’s plan for the agency, and its unhoused clients, was for them “to disappear”. Eventually, the Katz Group did purchase Boyle Street’s building, and evicted the agency on Truth and Reconciliation Day, September 30, 2023. In the following days, at least 120 unhoused residents—the majority of whom are Indigenous—died in the aftermath of Boyle Street’s eviction.   

Currently, rent increases continue unabated. The number of houseless amiskwaciy residents has roughly doubled in the past year. A punitive public spaces bylaw aiming to restrict the movement of houseless residents—and thereby their life-sustaining relationships—goes into effect on May 12, 2025. And Edmonton’s city-council, that unanimously passed the bylaw, is set to approve giving hundreds of millions more in public funding to the Katz Group’s developments in Ice District.      

There are glimmers of hope, however, as shown at Pekiwewin. And by the myriad, everyday ways people care and support each other in navigating gentrification and its harms. Gentrification tries to fracture life-sustaining relationships, but it does not end these relationships between people, non-human life, and land. These connections and reciprocal relationships have existed much longer than racial capitalism, settler colonialism, and gentrification. And these life-sustaining relationships will still be here in amiskwaciy far after racial capitalism leaves the banks of the kisiskâciwanisîpiy.

-- 

Rylan Kafara (he/him) is a settler researcher, educator, and community helper. He holds a BA and MA in history, and is finishing a PhD at the University of Alberta. Rylan currently teaches sociology and history, and his research focuses on how forms of creativity, recreation, and community support are used by unhoused Edmontonians to both navigate the challenges of houselessness and enrich their lives. Rylan was a city-centre harm-reduction worker for nearly a decade, and volunteers with numerous community initiatives. He also co-hosts a weekly radio show called The History of Punk, and a podcast on houseless encampments called Keep Moving on CJSR 88.5FM. Rylan is grateful for all the life-sustaining relationships he has in the beautiful beaver hills. 

Find Rylan’s current projects and research at www.citycentreedmonton.com and please contact him with any questions, ideas, or thoughts at rkafara@ualberta.ca

Cassia Hardy's record In Relation is out on May 23! Here's an essay from the accompanying zine written by Kyla Pascal about the Empress Ale House, titled "Reflections on Community + space".

As you stepped in from the cold December afternoon, the bar was hot and loud. Squeezing your way through the crowd, passing the barflies insistent on remaining perched on their stools. The band was playing Christmas carols and at the back of the bar was a bake sale, homemade cookies and Christmas treats spread across tables in tupperware – a fundraiser for a local homeless shelter.  

The Empress was a place of community. For the lonely man after his late shift at Safeway, the beers for queers (one of the few safe queer drinking spaces in the city), the comedians fumbling their way through a tight five on comedy night. A handful of shows a month, the upcoming list of performances scribbled across laminated sheets, hung behind the bar. In the summertime, the patio was packed. You’d disregard the taste of Empress Ale for the fact that you are all together under the sun.

Third spaces, a term coined by sociologist Ray Oldenburg, describe locations outside the home (the first place) and the workplace (the second place) where people can connect and gather. As we move away from traditional third spaces such as churches, community halls, and legions, we’ve shifted towards alternatives.

The Empress was just that: a welcoming space, regardless of your colour, sexuality, or class. It was a place to watch an album release show, compete in a trivia night, catch a playoff game, fundraise, or simply catch up with friends.

The number of third spaces is quickly dwindling. Suburban sprawl, changing work patterns that reduce recreational time, and the lasting impact of a pandemic have led to a significant decline in people's connections. 

Headlines over the past few years have painted a grim picture for small businesses, local art scenes, and the overall sense of community. Articles highlight the ever-changing arts and culture industry, business reports point to rising costs straining live music, and the Canadian government released a social survey report on increasing loneliness.

The Empress, like many spaces, was a casualty of the pandemic and a greedy landlord who placed profit over community. On August 1, 2020, The Empress Ale House closed its doors for good. Beyond The Empress, we’ve lost other businesses, venues and events to congregate. We saw festivals dissolve and organizations shrink. We’ve lost ways to hear about what people are creating and how we can support their latest projects and releases.

The work of gathering feels different now. It’s harder to find out about upcoming shows, people have moved away, and people have passed on. Our opportunities for connection seem to become less and less. 

When you drive by, you would barely recognize The Empress Ale House save for the red exterior. Following its closing, Cannabis Bay was the next tenant. The space was grossly illuminated with florescent lighting and the gaudy signage was a cruel reminder of where a watering hole, a music venue, and a safe space once existed. As of very recently, the space once again sits empty.

However, in the past year, Sue Kiernan, owner of The Empress Ale House has opened a new spot, Southbound Brewing. And we’ve seen other community members build new spaces and create new ways to connect.  In the face of increasing loneliness, closing businesses and a weary arts community, we must support our community spaces and local artists. In the grieving of our beloved Empress, we are reminded that gathering is an essential part of our lives and that through community support and collaboration, we can build places and spaces that uplift, invite, and connect.

-- 

Kyla Pascal (she/her) is an Afro-Indigenous (Dominican/Métis) woman born and raised in Amiskwaciwâskahikan / ᐊᒥᐢᑲᐧᒋᐋᐧᐢᑲᐦᐃᑲᐣ (Edmonton). Her experiences and interests are centred around Indigenous resurgence, cultural preservation through archival and memory work, storytelling, and food justice. She is a community planner, an artist, a core member of Ociciwan Contemporary Art Centre and co-editor of Hungry Zine. Pascal’s writing has been featured in a number of publications such as Briarpatch, Herizons, and SNAPline. The goal of her work is to build more resilient, connected, and healthier communities.

Today we're announcing that we've signed the Montreal post-punk outfit Ribbon Skirt to put out their debut record Bite Down on Mint. The album's out April 11! 

Formerly known as Love Language, Ribbon Skirt are a band from Montreal led by Anishinaabe musician Tashiina Buswa. They have captivated audiences across Canada and the US including SXSW, New Colossus, Sled Island, Sappyfest, Flourish and POP Montreal. 

The album announcement of Bite Down comes with the release of the song and music video for "Wrong Planet," filmed in the window of a kitschy prom dress store on Montreal’s iconic St. Hubert Plaza. 

Taashina Buswa’s frustrated vocals—"I think I don’t love you / I really love you"—play out amidst a backdrop of shimmering gowns and flickering lights, embodying the internal conflict that drives the song. It’s the feeling of being stuck in a world that you fundamentally don’t fit into, and weighing the decision of whether to perform a different version of yourself to fit in. 

The video’s visual narrative blurs the lines between fantasy and reality, and as the song reaches its explosive outro, Buswa's scream reverberates through space from behind a cracked glass, echoing the disorienting feeling of being trapped in a whirlwind of choices. "Wrong Planet" is a journey through emotional chaos, filmed in a space that feels like both an escape and a prison—trapped in a glass box looking out as the world walks by, disinterested while Buswa wrestles with the endless cycle of uncertainty, never knowing which path will lead to acceptance.

The video was directed by Ana-Maria Espino Trudel, with assistant director Colin Ratchford. Laura Jeffrey and Heather Lynn star as dancers. Watch it now!

Pre-order the record on Bandcamp or the web store 

Follow Ribbon Skirt 

Watch the new music video for “It’s About Time!”, the title track from Future Star’s sophomore LP, out now on Mint Records. 

The Steve Roste-directed music video captures future star’s live performance and features a cast of friends and family trust falling onto each other. Watch it now

See Future Star live on tour this fall:
Sept 17 - Edmonton @ The Aviary w/ Cassia Hardy & Butterdome (Tickets)
Sept 19 - Calgary @ Loophole w/ Hermitess & Silvering (Tickets)
Sept 26 - Vancouver @ Green Auto w/Bill Cann & Lilex and the Apocalips 
Oct. 3 - Toronto @ Tranzac w/Louie Sanchez & Tommy Tone
Oct. 5 - Hamilton @ BSide w/Lenny McGowan & Small Orbit

 

Heaven For Real are having fun with us. On Hell’s Logo’s Pink, their latest mini-album; twin Canadian songwriters Mark and J. Scott Grundy traverse a withering limboscape while sporting wide-eyed grins. Lyrical themes of spiritual ambivalence (“All That Remains”), doomer delusions and devotions, acute grief (“Biting Down With The Fangs''), solipsism, and ephemeral love (''Wichita's”) float with the band’s signature sonic buoyancy atop a refreshingly dark sea of material.

After 2023 tours of North America and the UK and a breathless 2022 run of releases (the EP Sweet Rose Green Winter Desk Top Tell This Side Autumn Of The Fighter Hot In A Cool Way and sophomore LP, Energy Bar), they began self-recording and producing songs in a solar battery and wood stove-powered Toronto studio (Coach House Sound) amid winter 2023-24.

Facing limitations both in personnel and resources, the duo worked to develop a newly agile approach to their idiosyncratic rock arrangements–embracing a necessary kind of spontaneity, “the battery would drain really quick when running all of our recording gear, so we had to do pretty much everything in one take,” J. Scott remarks. Other familiar players make appearances too, with live H4R collaborators Jonathan Pappo (Ducks Ltd., No Frills) drumming on the spritely kickoff of “Oh No” and Laura Jeffery (Laughing, Fountain) lending her voice through the sunken pop crackles of “Blankets of White”. Mixed by fellow songwriter/producers Louie Short and Andrew McLeod (Sunnsetter, Zoon), the songs bridge a fiery confluence of styles with ease.

“There isn’t a note on the record without something burning in the background,” offers Mark; and with the titular correlation in mind, there is a Cerberus-headed energy serving as guardian and guide here. Taking the listener through devil-may-care melodies (“Platforms”) and rhythms full of promise and still ragged optimism (“Love That Moves Faster {Than Death}”); this release ignites yet another era for the project — one perfectly emblematized by the flaming bubblegum chaos collection of its album cover, illustrated by the artist Maddy Matthews.

RIYL: The Pixies, Cate LeBon, Surface To Air Missive, Violent Femmes, Autolux

Tracklist:

  1. Theme From a Logo
  2. Oh No  
  3. Blankets of White  
  4. Platforms
  5. Wichita’s
  6. Love That Moves Faster (Than Death)  
  7. Biting Down With The Fangs  
  8. All That Remains
  9. !

Hell's Logo's Pink Tour 2024

JUNE 14 - MONTREAL, QC - THE BOG
JUNE 17 - OTTAWA, ON - RAINBOW BISTRO
JUNE 20 - CALGARY, AB - SHIP & ANCHOR (SLED ISLAND)
JUNE 21 - CALGARY, AB - SHIP & ANCHOR (MINT RECORDS SHOWCASE, SLED ISLAND)
JUNE 28 - VICTORIA, BC - THE MINT
JUNE 29 - VANCOUVER, BC - GREEN AUTO
JULY 25 - TORONTO, ON - BABY G (ALBUM RELEASE SHOW)

Today Montreal's knitting announce their debut LP Some Kind of Heaven, out on Mint September 6!

What started out as a pandemic hibernation project is now the fully fledged Montreal indie-rock-unit knitting. With “sinuous, bouncy guitars…and choruses that have the potential to metamorphose into earworms” (FME), knitting makes guitar driven and lyrically introspective indie rock evoking the nostalgia of 90s alternative rock bands like Pavement, Pixies and Sonic Youth.

Formed two years ago, knitting has already shared the stage with the likes of Nap Eyes, Loving and Cherry Glazerr, and toured and performed at festivals across North America. Having recently wrapped production with Scott “Monty” Munro (Preoccupations, Chad Vangaalen), knitting’s highly anticipated debut album comes out September 6 2024. 

Recorded with Scott Munro of Preoccupations, the album was written over a period of several years when Dempsey was navigating experiences of transition and coming into their non-binary identity, and addresses those experiences while touching on many of the complications and growing pains of early adulthood.

The lead single "Spirit Gum" is a song about the end of a domestic relationship that dissects that emotional space with a brooding intensity. Layers of guitar recalling 90s alt-rock greats like Hole and contemporaries like Dilly Dally and Momma, give mesmeric weight to a song that traces the way a physical space can be transformed by the emotional state in which it's experienced.

Listen to Spirit Gum | Watch the Music video

Pre-order Some Kind of Heaven 

Today Vivek Shraya is back with a new remix of her song "Quitter" off her 2023 record Baby, You're Projectingwhich turns 1 in just a few weeks! 

"Quitter Remix" features Vancouver-based musician Kimmortal lending some vocals and a verse to the song that even ID's the album. 

With this remix, Vivek gives the album and song a bit more love.

"Quitter" was one of the last songs she wrote for Baby, You're Projecting. She says, "I knew by then that I was writing a break ups album, but it wasn't until I watched the Alanis Morissette documentary that it hit me that I hadn't really allowed myself to be angry in my songwriting. I was so consumed with being fair to the other people I was writing about that I didn't realize I was muting my own emotions." 

Having been a fan Kimmortal since they played a show together (with Vivek's band Too Attached) years ago, and having Kimmortal sing back ups on Baby, You're Projecting, she wanted to put out an "official collab." 

Vivek said, "I genuinely believe that collaboration is the fuel of life. There is nothing one artist can do that two artists can't do better, and this collab is a testament to this fact. Kimmortal really takes this track to a new level and I've totally forgotten about the original version!"

Kimmortal says: "When I was writing for 'Quitter' I was thinking about past dating experiences I’ve had where my energy was not reciprocated and where I felt like I was treated as if I was disposable. 'Quitter' feels like an outlet for that rage and also a way to claim that power back. It was also such a fun experience to get the chance to sing in duet styles with Vivek!"

Listen to the single on streaming or Bandcamp.

“This Is The Part that’s too Hard to Explain” is the invigorating first single off Future Star's next album, It’s About Time! Out on Mint Records on July 5, 2024.

Future Star is a Vancouver-based bedroom pop star who has been releasing catchy keyboard music with “sweet and comically candid lyrics” (Discorder) since 2016. With influences that include musical artists like Arthur Russell, Magnetic Fields, and Kero Kero Bonito, and visual artists such as Lynda Barry, Future Star has built a reputation for creating intimate live performances "loaded with understated significance and beauty" (Exclaim!).

Their most recent two albums, When Will The DJ Of Luv Grant Me My 1 Request (Kingfisher Bluez, 2021) and All Of These Songs Are About You (None Of These Songs Are About Me) (self-released, 2021), tell a satisfying story of queer longing and loneliness transformed into love and joy.

Turning a song about the vulnerability experienced in childhood into a cathartic bop is no easy feat, but Future Star manages to pull it off in “This is the Part That’s Too Hard To Explain”. This is a song about hiding from understanding things, not asking for help when we need it, and the forgiveness we can offer ourselves and those around us when the smoke has cleared. A reminder to handle the "little guy" inside of you with care and compassion.

Listen on: Streaming and Bandcamp

About the record

While dreaming about houses that have been torn down and shows that happened in venues that don't exist anymore, Future Star explores the space between now and then with their upcoming album It's About Time!. A retrospective on seven years of songwriting, It's About Time! reminds us that a moment can go on infinitely, a memory can be shared, and something might have changed when you weren't looking.

Recorded and produced by long time friend Andromeda Monk, the album is at times minimalistic in texture with upright piano and voice, and at times lushly arranged with additions of synthetic strings, flutes and drum machine. Breathing naturally and comfortably, like a body at rest, it invites the listener to breathe naturally and comfortably, because everything is going to happen no matter what.

Maybe a song can be like a body, and their cells can replace themselves after a certain period of time. Maybe a story can be like a person that takes time to realise who they are. Maybe a city can be livable and you don't need to move to Montreal, or the suburbs.

Our cells turn over, the wick burns shorter, and maybe when the light hits just right and everything comes into focus, you will make the next best decision you've ever made.

RIYL: Magnetic Fields, Kimya Dawson, Arthur Russell, Frankie Cosmos, Chris-A-Riffic

Follow Future Star

WebsiteInstagramTwitterFacebookBandcamp SpotifyApple Music

Today Non La releases "Hurtful," the lead single off their sophomore album Like Before. 

"With this song I wanted to capture the nuances of non-monogamy," says On. 

"However, I think I ended up expressing this feeling that is familiar in every relationship, romantic or not: that there could be some new, exciting distraction that threatens what you have. The song starts relaxed, but as the anxieties grow bigger, the song swells until the music implodes. It ends in chaos." 

Listen to the song now.  

Coming out of "an 8 year music video retirement" to direct the music video for "Hurtful," Owen Ellis creates the uneasy feeling of ominous tension at a live show, where a concert goer walks the line between stalker and super fan. Check out the video on YouTube!

About the album 

Like Before is a 12-track alt-pop meditation on long term relationships, the difficulty of recognizing care in routine, and the struggle to do better than whatever maladapted form of love your parents were modelling. Despite the universality of these themes, Non La brings a specifically queer focus to the genre including tracks discussing meeting your partner in a bathhouse and how/if to ever tell your family (“Dark Room”), and the conflicting insecurities (“Hurtful”) and reassurances (“Like Before”) that arise from non-monogamy.

Pre-orders of the LP, cassette, and digital album are available on Bandcamp and the Mint web store.