Mint   Page 2

Tough Age

Plays Cub’s Hot Dog Day

Mint

Hot dog! Just over two years old—yet older than everyone thinks—Tough Age is plain ol’ happy to announce the arrival of Plays Cub’s Hot Dog Day, their first Record Store Day release to a world in desperate need of a 7-inch covering a previously released 7-inch in full! Available only on watery-ketchup-colored vinyl, Plays Cub’s Hot Dog Day is a tribute devoted entirely to recreating the second set of six songs from the Vancouver cuddlecore pioneers, recorded fresh after Tough Age’s seventh or eighth tour. (No one stayed at home to write war memoirs or watch their new TV, but two members did move to Toronto afterward.) Plays Cub’s Hot Dog Day was recorded once again at Vancouver’s The Family Christmas, this time in their permanent home there and not dragging gear back and forth from The Orphanage space down the hall. Wholly produced by Jay Arner with assistance from Jay Arner and Jay Arner, this little red biscuit features every member of Tough Age singing, taking on such gems as “My Chinchilla” (“Satan sucks, but you’re divine”), “Nicolas Bragg” (“Sunflower, nightshade, seaweed, x-ray”) and of course a rolling rendition of Astrud Gilberto’s “Summer Samba” minus horns, to put things in perspective.

Faith Healer

Cosmic Troubles

Mint

Long before Jessica Jalbert began recording under the Faith Healer moniker, she fostered a tight collaborative friendship with fellow Edmonton-bred polymath Renny Wilson. They’ve made boppy garage rock in Tee-Tahs, kicked up a racket in Punk Explosion, and even played in a smattering of cover bands. In 2011, Wilson was a key contributor to Jalbert’s solo album Brother Loyola. So when Jalbert set about creating her first album as Faith Healer, she naturally called on her old buddy to help out. The result of these productive sessions is the debut LP Cosmic Troubles. Jalbert wrote this material while absorbing a steady diet of psychedelic rock from the ’60s and ’70s. This fixation translates into inventive songs that combine the sun-kissed sparkle of classic pop harmonies with head-swimming trippiness and forays into thundering fuzz. She and Wilson played all of the instruments themselves, with the latter also handling production duties.  Cosmic Troubles captures the warmth of the Summer of Love along with an eclectic sense of anything-goes adventurousness. Opener “Acid” finds Jalbert renouncing hallucinogens after a bad trip, but the wah-laced fretwork suggests that she might still be feeling some of the drug’s after-effects. “Canonized,” on the other hand, swaps out woozy psych for speaker-assaulting distortion, its titanic chorus sounding like a long-lost hit from the grunge generation. Expanding the palette even further, the blissfully airy hooks of “Until the World Lets Me Go” are bathed in watery guitar jangle, while “Angel Eyes” begins with pensive pastoral plucking before unexpectedly...

Energy Slime

New Dimensional

Mint

Alongside the starry-eyed synth-pop and minor-key melancholia of his self-titled debut, Vancouver’s Jay Arner has mastered the art of deadpan absurdity. Oddball jokes and non-sequiturs linger around the edges of computer-animated music videos and sketchbook scribbles transformed into t-shirts. Now, joined by his partner in crime Jessica Delisle, these poker-faced put-ons have been conjured into a blob of pure sonic ectoplasm. Say hi to Energy Slime!  New Dimensional is the duo’s primordial ooze, cramming ten songs into a jam-stacked thirteen minutes and two sides of a 7-inch. Like Robert Pollard in quick-hitter mode, or a circuit-fried Bruce Haack and Esther Nelson, the pair creates way-out musical miniatures. Energy Slime’s enchanting earworms range from the fuzzed-out glam stomp of “Bustin’ Up” to the stately Eno pomp of “Mother Brother Sister Father.” The breezy blue sky-ride of “Only Clouds” crash lands on the space cruise of “Star on the Ground,” after a 34-second huff of “Gas in a Bag.” Delisle grabs the mic for the shimmering Cyndi Lauper sock-hop of “Cool Ship II” while Arner shares his medical credentials with the feather-banged headbang of “Why U Wanna.” Road trippin’ ramble-riffs follow “Trial of the Mind” onto the rattling trail of “So Long Snakes.” And the crown-jeweled centerpiece is a lascivious tribute to one half of Stop Podcasting Yourself titled (natch) “Graham Fucks the Queen.”

Monomyth

Saturnalia Regalia!

Mint

Monomyth is a crown jewel in the court of the crimson and clover. The Halifax four-piece carries on the hallowed East Coast tradition of janglophile pop with a smirking sense of humor, stadium-sized hooks and starry-eyed harmonies from the barbershop of broken dreams. The Monomyth monarchy is made up of twin tone guitarists Josh Salter and Seamus Dalton, stately bassist Graeme Stewart and soft touch drummer Matt Peters, with the frontline swapping songwriting duties and turns at the mic. In the tightly knit Halifax kingdom, their faces can also be seen in beloved local bands like Nap Eyes, Moon and Psychic Fair, plus previous projects including Bird World and Quivers. These dizzying rotations have resulted in an all-star sovereignty with a princely pop pedigree, ruling with a velvet glove and ready to conquer the next realm. Following a pair of self-released cassettes and a two-song quick hitter for tape label Craft Singles, Saturnalia Regalia! heralds their triumphant LP debut. Though there’s a clear sonic lineage with the holy Halifax trinity of Sloan, Thrush Hermit and the Super Friendz (whose bassist Charles Austin assisted in this album’s production), Monomyth also invokes the amber-encased Americana of Big Star, pranksterish pop moves of The dB’s and The Soft Boys, Television’s tangled guitarmonies, MBV’s tremolo-gaze, and the radiant ramble of Relatively Clean Rivers. That may sound like a vast range of sonic touch-points, but the band’s three-piece throne prefers to explore all corners of their catholic tastes. “[T]he songs were written independent of each...

Arner, Jay

T.S.A.T.S.

Mint

Ketamines

Stay Awake

Mint

The final installment of Ketamines’ four-part 7-inch series finds everyone’s favorite spaced-out punks straying from the garage, discovering amphetamines and taking that swing into the sunshine of romance and power pop. Along the same gracious lines, B-side “Always Small” is self-affirmation in sugar-pill form. Parts one through three of the series were released by Pleasence Records, Leaning Trees Records and Hosehead Records, and are available individually from those labels in frighteningly small quantities. Collect all four to complete a grand, mind-bending image of magic by artist Felix Morel.  “Ketamines have found the delight in the details, adding to their pop-tarted tracks with fuzzed-out blasts, cartoon-indebted backing tracks, moody guitar washes and synth stabs that all seem pulled from their personal obsessions, then melted, sewn and stapled together into music that feels as personally seamless as it is aesthetically schizophrenic.” —Raven Sings the Blues “Ketamines are nearly impossible to pin down: lo- / no-fi garage rock that’s occasionally poppy / catchy, sometimes glittery, often ass-kickin’ and always, at the very least, engrossing.” —Gumshoe Grove “Lots of sound effects like when a person materializes in a He-Man cartoon.” —Vice

Tough Age

S/t

Mint

Tough Age is culmination-rock, the sound of four radical adults with shared decades of experience, chops and killer record collections coming together to create charismatic, idiosyncratic pop songs for the ages. Following the dissolution of Vancouver’s beloved surf-punks Korean Gut, frontman Jarrett K. (also a member of Apollo Ghosts, Role Mach and too many more bands to list) cherry-picked a stacked lineup for his next project. Penny “Agamemnon” Clark provides a jangly drone-wash of guitar and backup vocals, Lauren Smith holds down the low end with beating-heart bass-lines, and drummer Chris Martell (Sightlines, Collapsing Opposites, and last seen with K. in a Minutemen cover band) rounds out the dream team. For their stated sonic inspirations, the band is quick to whip off a laundry list of musical heroes from lo-fi godfathers Guided By Voices to the New Zealand fuzz-pop of Toy Love, The Clean and Bird Nest Roys. They also dig deep into Canadian garage 45s of the ’60s from names like The Townsmen, The Jury and The Ferraris of Canada. Heck, there might even be a dash of Tommy James and the Shondells, plus the cartoon bubblegum of The Archies, Groovie Ghoulies and Ohio Express. Yummy yummy! Tough Age tapped fellow Mint Records signee Jay Arner for the production of their debut LP, and the results are immaculate. Emerging from the gritty basement recordings of previous projects, these golden-hued tunes mix head-rush rippers, swoon-worthy slow jams and hooks for days. Offsetting the barbwire riffs of “We’re Both to Blame,”...

Arner, Jay

Jay Arner

Mint

For years, Vancouver multi-instrumentalist Jay Arner has teamed up with others to translate the sounds in his head. He’s fronted an indie rock band, played synthesizers and samplers in a pop duo, manned the drums for a piano-punk songwriter, and held down the bass in a eight-member collective. Along the way, he’s also become a sought-after producer and remix artist, working out of Vancouver’s legendary Hive Studios and recording acts like Mount Eerie, Apollo Ghosts, Rose Melberg, No Gold and many more. Now, finally, he is going it alone. Every sound on his eponymous debut album was self-recorded by Arner in his 72-square-foot practice space using a precariously perched desktop computer and his home recording gear. The sum of his many talents, these ten songs sizzle with DIY energy and encompass the scope of the songwriter’s diverse résumé. Opener “Midnight on South Granville” sets a dark tone with its coldly mechanical intro before flourishing into a lush post-punk synthscape that reflects Arner’s love of analog electronics. Elsewhere, the bass-heavy pulse of “Broken Glass (In the Hall of Shattered Mirrors)” draws on ’70s pseudo-funk, while “Wildest One” is an abrasive surge of distortion and “Don’t Remind Me” is a soaring pop anthem that recalls classic Murderrecords songcraft. The lyrics are filled with self-doubt and wry cynicism, but don’t expect confessional heartbreak—these timeless melodies and intricately wrought arrangements are filled with noisy pop sweetness, and there’s not an acoustic guitar to be found. Given that Arner wrote, performed, recorded and mixed every...

Pick A Piper

S/t

Mint

Though kept busy handling percussive duties in the live incarnation of Caribou, Toronto’s Brad Weber has found time in recent years for his side project, Pick a Piper, a collaboration with friends Clint Scrivener, Angus Fraser, Dan Roberts and others, that Weber oversees by handling the production and much of the songwriting. Between 2009 and 2010, they released two digital-only EPs, both of which filled out dance-music structures with decidedly non-dance-music instrumentation—glockenspiel, acoustic guitar and flute, to name a few—to create what they aptly term “organic dance music.” In the years since Pick a Piper’s initial releases, Weber has taken to flexing his production muscles, swapping out the acoustic palette that characterized earlier output in favor of found-sound samples, synths, electronic percussion and deftly sequenced helpings of reverb and delay. But even with this new focus on electronics, their aesthetic remains grounded in the natural world, with airy, polyrhythmic percussion, atmospheric sound design and loopy melodies making up the foundations of their self-titled debut album. Toss in a smattering of guest vocalists (members of the Ruby Suns, Enon / Brainiac, Born Ruffians and Braids), and Pick a Piper becomes a project whose stylistic versatility and distinct palette create a pleasantly varied but cohesive whole.

V/a

CiTR Pop Alliance Vol. 3

Mint

Back in 2011, Mint Records got really high off of paint fumes while silk-screening the covers to the CiTR Pop Alliance Volume 2 compilation. This March, they’re going to open the windows and do it all again—get ready for Volume 3! CiTR’s Duncan McHugh (the host of Duncan’s Donuts) has recruited fourteen of Vancouver’s finest, including Jay Arner, Movieland, Korean Gut (RIP), Peace and more. Many songs are unreleased, and all proceeds from the release will go back to CiTR 101.9 FM—the birthplace of Mint Records. Only 300 of these gems are being pressed, carefully silk-screened by the station’s volunteers and numbered by hand, so don’t wait around.

Wilson, Renny

Sugarglider

Mint

After almost a decade of struggle, strain and delay, the debut record from Edmontonian Renny Wilson sees the light. Sugarglider draws from disco keystones like “Bad Girls” and Arthur Russell as well as elements of chillwave, krautrock and a healthy dose of Haunted Graffiti, employing bold, tempo-matched digital delay.  The album opens with a saxed-out, psychedelic, electric-bass-powered dance party, riddled with the sounds of late-’80s FM synths, 12-bit horns and regret. The soul-plane flies high, low and back up again, fizzling away into a motorik opera, only to slap back with deep, white-boy funk, cosmic pulsar-pop and sampled-string schmaltz. The contrast of upbeat music and melancholy lyrical content provides a tasty combination for any groove-oriented listener. Tap this valiant freshman effort into your varicose and you’ll find yourself crying vaseline tears of self-pity on the dancefloor.  “Um, best new band of the year? All we’ve heard is these three singles streaming from Edmonton’s Renny Wilson and we need more right away. Perhaps this record ranks with Ariel Pink himself. These three songs certainly suggest we have an incredible talent on our hands here.” —Silent Shout

Mark, Carolyn

Queen Of Vancouver Island

Mint

Behold the latest album by infamous boozy West Coast chanteuse Carolyn Mark, The Queen of Vancouver Island, recorded over the course of five sessions during the winter of 2011-12 with guest appearances from the tops in the field. One can’t help thinking this is the one!  The mysterious “Poor Farmers” opens with a voice coming through an old telephone, fully materializing with the backing of an acoustic guitar; a beautifully sparse rallying call with stand-up bass and sweet harmonies courtesy of Terri Upton. Laden with instruments, the title track gives the impression that Mark just couldn’t stop inviting people over to join in the fun. When was the last time you heard cello (Hank Pine), harmonica (Paul Henry Oppers) and viola (Rachelle Reath) together with a “Sha-la-la-la” chorus and wailing guitar (Tolan McNeil)? “Best Friend,” recorded by Victoria’s meticulous Myke Hall, features The New Best Friends—drummer Juli Steemson laying down a funky disco beat over which a pair of guitars duke it out—while “Mellie’s Book” sounds like Sarah Harmer meets Pavement. “Not Like the Movies” is a tribute to the real-life world of being a full-time touring musician. In films they always omit the loading out and packing the van scenes. And dig that angular guitar line! The album ends with the inevitable descent from Queen to Whore through a pair of songs. “(We Weren’t Always) Old Whores” is a lament begging forgiveness of the former self for falling short of youthful expectations. “You’re Not a Whore (If No...

Hot Panda

Go Outside

Mint

After a couple of line-up changes leading to 2010’s live-off-the-floor LP How Come I’m Dead?, the third album from Vancouver’s (or Edmonton’s, depending on who you ask) Hot Panda invests its energy into a more thoughtful mode of creation. While tackling crippling social disorders like cynicism, depression and closed-mindedness in their lyrics, Go Outside retains the energy, humor and sub-genre diversity of their earlier releases and renowned live performances—what principal songwriter Chris Connelly describes as “artful pop music, but played with a punk rock spirit.” Connelly tackles some intense subject matter on this record, addressing visceral socio-political topics like “with us or against us” extremism on opener “One in the Head, One in the Chest,” and the sad state of the market-based global economy on the brooding “Future Markets.” Elsewhere, tracks like “Littered Coins” and “Boats” provoke quieter moments of reflection. Yet this is not a transition from Hot Panda’s freewheeling, light-hearted roots to soul-baring egotism and moralizing—Go Outside is not about reveling in negative thought patterns, but the struggle and value in overcoming them. Overall, Connelly’s lyrics are more worldly, while his voice itself, processed but not pitch-corrected, sounds more grounded. Continuing their legacy of eclectic lo-fi indie pop albums for Mint Records, Go Outside presents a snapshot of a band reaching a new plateau, solidifying Hot Panda as a one of the brightest stars on the Mint roster. Once again recorded by the famed JC / DC team of David Carswell and John Collins (The New Pornographers, Tegan...

Ramblin’ Ambassadors

Ramble On

Mint

The Ramblin’ Ambassadors’ third album for Mint Records proves again that the Canadian West is the true home of instrumental rock ’n’ roll. Serving up another platter of big beat, no bullshit guitar instrumentals, the boys from Calgary kick up way more turf than surf. Ever spend too much time at the Brazilian Barbecue? One hot dog too many? Then check out “Meat Sweats”; a greasy homage to that pulled pork you just washed down with a shot of cheap booze. “Back Seat Action” recalls borrowing Mom’s land yacht for the big date, and every electric note of “Dallas B. Goode” counts the odometer clicks on your ’56 Buick, or maybe even your ’73 Pacer. Parties (“Clambake!”), cars (“Super Bee”) and even the environmental activism of the forest-scorching “Pine Beetle Express” define what occupies the rock ’n’ roll minds of The Ramblin’ Ambassadors. Ramble On was recorded entirely in the band’s secret underground bunker, under the tutelage of musical whiz-kid Russell Broom. The album strips the Ambassadors’ sound even further back, with pretty much a single track for each instrument. (Well, the drums are in stereo, so that’s a couple.) Ramble On has the familiar fiery twin guitar attack of Brent J. Cooper and Gentleman Doug Waite, and careful listeners will notice that Cooper occupies one side of the stereo spectrum and Waite the other. Scott Nickless rides the yellow line, keeping his big bass right up the middle, and Tyler Pickering’s able drumming puts the tyger in the...

V/a

Busy Doing Nothing!

Mint

***Assembled by Vancouver punk rock journalist and THE EVAPORATORS singer NARDWUAR THE HUMAN SERVIETTE, Busy Doing Nothing! features ANDREW WK, FRANZ FERDINAND, THE CRIBS, FUAD AND THE FEZTONES, KATE NASH, JILL BARBER and SAGE FRANCIS all showing their love for Canadian punk heritage preservation! Side A kicks off with an original collaboration by Andrew WK and The Evaporators. The action continues with Wakefield, England’s The Cribs covering ’70s Vancouver punk band The Dishrags, London’s Kate Nash covering ’90s Vancouver “cuddle-core” band (and Mint Records’ signature act) Cub, and Franz Ferdinand’s rendition of the legendary Pointed Sticks’ “Real Thing.” Fuad & the Feztones, Bobby Beaton and John Davis from Montreal’s veteran garage punk band The Gruesomes, offer their take on The Evaporators’ first single from 1992, and Sage Francis raps on a verse of The Evaporators’ “Hot Dog High.” The Evaporators rule side B, delivering a number of original tunes plus covers of 1970s rockabilly truck driver Doug Rutledge (featuring Andrew WK and Canadian singer / songwriter Jill Barber) and The Pointed Sticks. The album closes with a clip from the first interview Nardwuar ever did with Franz Ferdinand. This fantastic collection also includes a free 40-page 2013 calendar of vintage 1970s punk rock photos taken by renowned Vancouver photographer Bev Davies!

Pack A.d.

Unpersons

Mint

In 1962, Neil Sedaka said, “Breaking up is hard to do.” Well, breaking up just got a whole lot easier thanks to Unpersons, the fourth album in The Pack A.D.’s indomitable catalog. This is the album to vaporize those who shall not be named; it will erase any trace of their existence with a dense cloud of fuzzbomb riffs, tribal rhythms and hard (legal) drugs. Braving a bombardment of devils, ghosts, mutants and arseholes, drum demolisher Maya Miller and belligerent guitarist / vocalist Becky Black have never shown so much determination and prowess. The Vancouver duo’s confidence in the studio and skill as musicians have grown exponentially between records, culminating with an epically fierce explosion of blues, punk and garage rock that dwarfs all that came before it. Neither mythological beast nor unrepentant dipstick stands a chance of surviving Unpersons’ aural onslaught. Like their last two albums, The Pack A.D. recorded Unpersons at the legendary Hive Studios with engineer Jesse Gander. However, where famed Detroit producer Jim Diamond (The White Stripes, The Detroit Cobras, Electric 6) mastered 2010’s We Kill Computers from afar, he flew in—on his own insistence—to produce Unpersons firsthand. After these sessions, the band went back with him to Michigan to perfect the mixing together. The result is a flawless record that takes all the snarl, piss, vinegar, venom and vitriol heard on their first three albums into a realm that is distinctly their own. Any reference to The Kills or White Stripes is no longer relevant....

Atomic 7

En Hillbilly Caliente

Mint

Atomic 7

Gowns By Edith Head

Mint

***The debut album from this new Canadian three-piece fronted by former SHADOWY MEN ON A SHADOWY PLANET and current NEKO CASE guitar-slinger BRIAN CONNELLY. A nineteen-song instrumental blast of surf, twang, country, R&B, and garage rock'n'roll goodness, delivered both meaty and elegant.

Awkward Stage

Heaven Is For Easy Girls

Mint

Awkward Stage

Slimming Mirrors, Flattering Lights

Mint

Barlow, Lou

Another Collection Of Home Recordings

Mint

Bella

No One Will Know

Mint

Berner, Geoff

Victory Party

Mint

***“The debut albim from Vancouver's GEOFF BERNER. His openness to experimentation, spirited Eastern European klezmer influences, punk rock attitude and work with producer / mastermind JOSH DOLGIN (Socalled) resulted an an innovative, engaging and lively album full of surprises that we are proud to be part of. After completing his highly-acclaimed Whiskey Rabbi trilogy of trio albums, it was time for Geoff Berner to move on. ‘I wanted to make an album that sounded bigger, more klezmer-ey, and more transgressive, all at the same time. And I knew I couldn't do it alone. In fact, I knew that I couldn't do it without Josh.’ Josh Dolgin is an acknowledged genius of modern Jewish music. He is famous for his own albums, which fuse hip-hop and klezmer. A feature film about him, The Socalled Movie, was released internationally in 2010 by Canada's National Film Board. New musicians were also added to the mix. BENJY FOX-ROSEN and MICHAEL WINOGRAD came up from Brooklyn to play bass and clarinet, respectively, as an addition to familiar brilliant members of the Berner posse—WAYNE ADAMS on percussion, DIONA DAVIES and BRIGITTE DAJCZER on violins.

Buttless Chaps

Cartography

Mint

Buttless Chaps

Love This Time

Mint

***The latest from fiercely original Victoria, British Columbia electro-Americana favorites the BUTTLESS CHAPS, and another rainbow of musical genre-bending enjoyment. A blend of moody, orchestrated country and synth-driven new wave performed with a foundation of banjo, guitar, drums, and keyboards. Features guest performances from CAROLYN MARK, FORD PIER (ex-D.O.A.), JESSE ZUBOT, IDA NILSEN (RADIOGRAM), and others.

Buttless Chaps

Where Night Holds Light

Mint

Choir Practice

Choir Practice

Mint

Corn Sisters

Other Woman

Mint

Cub

Box Of Hair

Mint

Cub / Potatomen

Split

Mint

Duotang

Bright Side

Mint

Duotang

Cons And The Pros

Mint

Duotang

Smash The Ships

Mint

Fanshaw

Dark Eyes

Mint

Guliak, John

7 Stories And 13 Songs

Mint

***The second album from Edmonton, Alberta-based singer/songwriter and "Prairie Folk Scene" pioneer JOHN GULIAK. A reflection of the poetic and political observations Guliak has made while living in various locales across Canada, delivered with a velvet-smooth voice, and accompaniment from the LOUGAN BROTHERS, CAROLYN MARK, FORD PIER, and many others.

Guliak, John & The Lougan Brothers

Black Monk

Mint

***The latest from Vancouver-based singer/songwriter and integral contributor to the city's thriving country scene, JOHN GULIAK. Poetic and political observations portrayed through songs that lament the displacement of Canada's rural populations to the inner cities of Vancouver, Winnipeg and Toronto, while celebrating the cultures that persevere. Includes covers of songs by The Stanley Brothers, Giant Sand, Townes Van Zandt, Uncle Tupelo, Willie P. Bennett, Johnny Cash, and others. Features backing from the LOUGAN BROTHERS—CAROLYN MARK, LINDA McRAE, KEITH ROSE, TOLAN McNEIL, FORD PIER, SEAN HARPER, and others.

Hot Panda

How Come I’m Dead?

Mint

***Edmonton’s HOT PANDA recorded their sophomore album, How Come I'm Dead? in less than a week during the midst of the Vancouver 2010 Olympic chaos, mostly live off the floor with few takes and overdubs at JC/DC Studios. The band wanted it to sound alive, spontaneous, lo-fi, and playful, in line with the vibrant quirkiness of similar records by Roxy Music, Brian Eno, Talking Heads, and The Flaming Lips. There are also lots of different 'slapped together' tidbits and half-songs, so it should not sound overproduced or over-rehearsed. You can tell the band just had fun writing these tunes, and that's the most honest thing about it. On How Come I'm Dead?, you'll find dreamy noise, circus freak dance numbers, heartbreaking country ballads with screeching metal guitar solos, lovely pop harmonies, psychadelic drones, and straight up pop/rock numbers. There is even a grindy techno song and a hip-hop track, which includes a bass scratch solo and enough f-bombs to earn them an adult content warning sticker. The album title came from an obscure book found in a thrift store while touring. With Chris Connelly reflecting on the isolation of long distance relationships and life on the road, the album expresses the loss of the sense of having a home, made extra-weird with things like Facebook that constantly remind you of all the things you're missing in all the places you're not. It feels a bit like being a ghost, being able to see and hear people you love carrying on...

Hot Panda

Volcano... Bloody Volcano

Mint

Huevos Rancheros

Dig In!

Mint

I Am Spoonbender

Sender Receiver

Mint