Sounds Mint has arrived swinging with no interest in knocking politely. Their new EP, One Day We’ll Make It Out Of Here, ’Til Then;, doesn’t just mark a release; it announces a reckoning. A razor-edged blend of post-punk grit, political venom, and raw emotion, it captures the absurdity and anxiety of Britain right now with unnerving precision. Just after it dropped, the band took over a secret London venue for a food-drive-fuelled live set that felt less like a gig and more like a protest rally disguised as a party.
We caught up with them the very next day, somewhere between adrenaline and existential comedown. What’s clear is that Sounds Mint isn’t chasing hype; they’re building something louder, sharper, and rooted in real-life discontent. Tracks like Where’s Wally and Zombies swing between satire and sorrow, held together by their hybrid sonic chaos and community-first ethos. If you want to know more, keep reading!
Your new EP, One Day We’ll Make It Out Of Here, ‘Til Then;, just dropped. What’s the vibe like for you in these first days of release?
Kelvin: It’s a bittersweet feeling for me. Personally, I always get a feeling of emptiness. I feel like the void needs to be filled. Now, I need to immediately crack on with the next project or tour this project. Basically, just feeling a bit itchy.
Rudy: Yeah, I second that, to be honest. I mean, it's great, but you get to the point of releasing it, and then it's like, "Okay… What's next?" So, I think we’re looking forward to the next one but also appreciating the first release of this new era, which is great.
Kelvin: Yeah. Trying to stay present now at the same time.
Rudy: Yeah, I second that, to be honest. I mean, it's great, but you get to the point of releasing it, and then it's like, "Okay… What's next?" So, I think we’re looking forward to the next one but also appreciating the first release of this new era, which is great.
Kelvin: Yeah. Trying to stay present now at the same time.
The record feels like a raw, unapologetic snapshot of modern Britain, exploring themes of isolation, frustration, and a dysfunctional government. What made you want to tackle these issues head-on right now?
Kelvin: With what’s going on right now, I think these things need to be spoken about, and anyone that I just chat to outside of music, if I'm at the pub having a chat, everyone feels the same. We're all going through the same experience right now, my generation. So, it's hopefully something where people can feel seen when they hear what I'm saying. I think there's a lot of chewing gum music in the world these days. I don’t want to be one of the ones to contribute to that meaningless bullshit.
Rudy: I think it's just what we all live through, like Kelvin said, and I think whenever you're making art, you're expressing what you're going through and how you’re feeling at that time. Especially the way I approach the drums, it's very much based on the emotion of the music. That’s what I use to write the parts; it's all down to the emotion and the feeling. I think it's been very easy to put together and play with the songs because even from the lyrical point of view, there's so much context and content there that I can use to develop how I want to portray the emotion of the rhythm.
Rudy: I think it's just what we all live through, like Kelvin said, and I think whenever you're making art, you're expressing what you're going through and how you’re feeling at that time. Especially the way I approach the drums, it's very much based on the emotion of the music. That’s what I use to write the parts; it's all down to the emotion and the feeling. I think it's been very easy to put together and play with the songs because even from the lyrical point of view, there's so much context and content there that I can use to develop how I want to portray the emotion of the rhythm.
The title One Day We’ll Make It Out Of Here, ‘Til Then; carries this mix of defiance and persistence. How do you live that mantra day to day?
Kelvin: What I've come to realise is no one's going to give you that validation; you're the only person who's actually going to give that to yourself. Once you believe in yourself enough and keep going, despite playing to fucking ten people or having no one listening to your tracks for years. Eventually, it becomes a contagious thing, the self-belief, and I think then people start to believe in you. But I think ultimately, at the start, no one gives a fuck. If you want to come in to have your ego inflated or something, this is not really the thing for you, I don't think. I think you have to ultimately love what you're doing and just do it and just believe in it, no matter what, because no one's going to do that for you.
Rudy: Yeah, I think the confidence comes from the belief. Every day you just have to be sure of yourself and be confident and keep going and not give up. That's the defiance for me.
Kelvin: Yeah, you'll see no results for years, and you'll be broken and frustrated, and if you can keep being insane enough to convince yourself that your shit is hot and keep showing up every day, every week. Keep going. I think we've done that over the last few years, and it's nice to finally see some steps forward and be able to grow.
Rudy: Yeah, I think the confidence comes from the belief. Every day you just have to be sure of yourself and be confident and keep going and not give up. That's the defiance for me.
Kelvin: Yeah, you'll see no results for years, and you'll be broken and frustrated, and if you can keep being insane enough to convince yourself that your shit is hot and keep showing up every day, every week. Keep going. I think we've done that over the last few years, and it's nice to finally see some steps forward and be able to grow.
Where’s Wally is a blistering focus track with a sharp critique on class divides. Could you tell us more about its creative process and the story behind its intense visuals?
Kelvin: It's a game of Where's Wally, and Wally plays this character that is out of touch with the people. It’s basically every single person in the House of Commons or whatever house of corruption that they may reside in, and it's a reflection of how they are basically laughing at us.
Rob: It was fun, and I think there's nothing really deep about it. It's just that wearing a Where's Wally outfit and having a mare.
Rudy: I remember we had you on a call with your earphones, and we were up on a rooftop, giving you instructions. We could see some guy doing some gardening and be like, “Rob, go and ask to take his shovel and do some gardening with it," or “Rob, run over and mess with these people.” From being up at the top with the camera and kind of orchestrating, it was quite a fun experience on the day. It was probably like one of the most fun times I’ve had on a video. It was a lot like the show Impractical Jokers.
Rob: It was fun, and I think there's nothing really deep about it. It's just that wearing a Where's Wally outfit and having a mare.
Rudy: I remember we had you on a call with your earphones, and we were up on a rooftop, giving you instructions. We could see some guy doing some gardening and be like, “Rob, go and ask to take his shovel and do some gardening with it," or “Rob, run over and mess with these people.” From being up at the top with the camera and kind of orchestrating, it was quite a fun experience on the day. It was probably like one of the most fun times I’ve had on a video. It was a lot like the show Impractical Jokers.
Your sound blends rock, indie, and post-punk with a biting lyrical edge. How did you evolve your sound from the Club Penguin EP to this new release?
Kelvin: I think we had access to better studios and better equipment, so things sound a bit more live, which was always the aim for us to capture that live energy before. The first EP was as DIY as it could get. We didn't have a studio; we didn't even have fucking speakers while producing it, mostly listening out of my iPhone and earphones and shit. So basically, I just feel like this EP shows the growth and us just having the opportunity to be able to use some better equipment. I think obviously we're always growing sonically. We're always experimenting, and that's the aim of Sounds Mint. If not, it just becomes boring, you know? I think from project to project, you're always going to see a bit of growth and a bit of experimentation. We don't want to just be a one-trick pony.
Rudy Albarn: Yeah, definitely, I second that. I think the process of songwriting developed at the same time. It was still us, and it was the same attitude towards the songs, just kind of different spaces and different ideas, and still being open to trying new things.
Rudy Albarn: Yeah, definitely, I second that. I think the process of songwriting developed at the same time. It was still us, and it was the same attitude towards the songs, just kind of different spaces and different ideas, and still being open to trying new things.
What was the process? And I don't know if you guys worked on tracks with other producers on Club Penguin, but what was the process like of working with producers this time? Or how did it differ from that past experience?
Kelvin: On Club Penguin, we still worked with other producers, and they helped us piece it together. I think ultimately, we're not going to have anything down that doesn't feel like us. All these producers we collaborate with—what they’re there to do is create almost like a nice bed for our music to sit on, if that makes sense. So, it's just a matter of how the sonics are going to sound the best that they can be. How is this idea going to sound the best that it can? I think it's really important to have that because we're writers and musicians; we're not producers. That’s their bag, and it’s nice to have someone who can just bring the best out of our ideas.
Collaborating with STONE on Incel Saviour added a whole new dimension. How did that collaboration come together?
Layla: Incel Saviour was a song we made late one night that ended up getting forgotten about for six months, until we were listening back to some old demos in the studio. Fin, the singer of STONE, happened to stop by our session that day. When he heard the song, he loved it and asked to do a verse on it; that’s how the collab happened.
Rudy, you’ve mentioned mixing live drums with samples and production. How important is that hybrid approach to capturing the energy you want on this EP?
Rudy: Yeah, I think it's very important because when we talk about going to different producers, whatever the set was at the time is what I'd use to make the song. If we then went back and tried to review the drum take or redo it, I would always end up going back to the first take, because I felt like whenever I tried to recreate the ideas that I had off the cuff the first time, they just never sounded as good. Even Spy Kids, which sounds ‘produced’ in terms of the drum sounds and the structure and stuff, was completely live, and Sick Note is completely live as well. Both are one-takes, but they have very different vibes.
On Tin, I originally made the drum loop on an MPC and then added live drums on top, and in the breakdown, it's predominantly more live drums. I think it's nice to have both. Originally, in my old band, I used to just play live drums, and I was very anti drum machines and samples. Then, starting with this one, Kelvin and I made all the songs in his bedroom. So, I had to just use MPC, and I kind of fell in love with it, and I really enjoy mixing both of them now. And I think that's an important part of my sound. I don't mind if I'm just playing a kit, or producing, or a mix of both. I think it's kind of whatever suits the song and whatever it needs to be. I like having freedom.
On Tin, I originally made the drum loop on an MPC and then added live drums on top, and in the breakdown, it's predominantly more live drums. I think it's nice to have both. Originally, in my old band, I used to just play live drums, and I was very anti drum machines and samples. Then, starting with this one, Kelvin and I made all the songs in his bedroom. So, I had to just use MPC, and I kind of fell in love with it, and I really enjoy mixing both of them now. And I think that's an important part of my sound. I don't mind if I'm just playing a kit, or producing, or a mix of both. I think it's kind of whatever suits the song and whatever it needs to be. I like having freedom.
You have just performed a secret show in London. How important is playing intimate shows like this for you right now?
Kelvin: It's special to be able to play these small, personal shows because, before we know it, we're going to be doing big venues. It’s nice to actually party and celebrate with our day-one supporters, who are the reason that we're here in the first place. It just feels special to be able to have this moment where it's still very much grassroots. Celebrating wins with our day ones basically, fucking special. Definitely one for the books.
The political and social commentary runs deep through tracks like Tin and Sick Note. In these turbulent times, do you think it’s important for artists to take a political stance and share an honest, unfiltered view of the world?
Kelvin: Yeah, I think it's more important than ever because we're in a very censored and polarised society. It’s a very dangerous place to be because if we can't have free speech, we’re essentially living under a dictatorship and within fascism. I'm just shining a light on things that we’re all going through and may not have the platform or the courage to speak up about them. So, hopefully I can be one of the people who can do that.
London has a significant influence on your music, from its absurdity to its chaos. How does the city shape the sound and themes of this EP?
Kelvin: I mean, there's no way we could get this sound without being here. I think the rain and the mundane-ness of it all, but also the rush of it—it’s a very exciting city. We have a lot going on in our culture. Without all these things. I don't think it would be possible for us to sound like we do. It’s an honest reflection of our environment.
Do you want to carry London and the UK with you around the world? Is that an important part of who you are?
Rudy: Definitely, I think where you come from is how you have to have a strong identity, especially in music. Having your identity is important because it's what people can relate to you. But I don't think it's the be-all and end-all. I want to travel and explore the world and absorb different cultures and music and let that merge with our influences and come out in our songwriting. So, I think it's an important place where you start. You can take the kid out of London, but you can't take London out of the kid. I still want to explore the world and absorb that.
Are there ways musically, sonically, or visually that you think London comes out in your artistry?
Rudy: I think a lot of aspects of our music video for the singles from the EP have been very London-centric. The first one, Incel Saviour, which was shot last year, was shot in Belgium. But Zombies is all about football and a cold winter's day, and in England, in London. And then Tin is shot around Victoria Park and in Moth Club in East London, and that's very relevant to gentrification and all that. And then, there's Where's Wally's in Piccadilly Circus in the centre of London, which is the most concentrated point of CCTV in the world, and we were on a roof filming people, so I think that's kind of a funny contrast. I think visually it's had a massive impact on what we're trying to portray.
You guys have already sold out shows across Europe and shared stages with big names. How do those live experiences fuel your creative process and the energy on this record?
Rudy: Creatively, it's different. I mean, being able to perform at that level, I think, gives you the confidence of knowing you can do it. But I think creatively it’s something different because I personally tend to look inwards.
Kelvin: It's sick that we do these big shows, and I feel like the bigger the shows and the bigger the stages, the more we grow and feel bigger as performers. We always rise to the occasion. But there wasn't necessarily an effect on the writing process; obviously, we always write with live shows in mind. But if anything, it's motivating.
Kelvin: It's sick that we do these big shows, and I feel like the bigger the shows and the bigger the stages, the more we grow and feel bigger as performers. We always rise to the occasion. But there wasn't necessarily an effect on the writing process; obviously, we always write with live shows in mind. But if anything, it's motivating.
The EP closes with Zombies, a raw and anxious track. Tell us more about it, please.
Kelvin: It’s a bit of a melancholy conclusion to the whole story. It’s a sad ending in a way, and it just felt like a conclusion. I think it’s probably one of the most vivid. I think it's nice to leave the project on that note because it's a very vivid description of your day-to-day person. So, I feel like the whole EP is kind of like just calling shit out and what we hate, and then now it's like it's a summary of these are the people that are affected by all of this and telling a story about them as well.
You are known for your community work and activism, like the football tournament and food charity collaborations. How do these efforts tie into your music and message?
Kelvin: Our little way of doing what we can do to help. I want to be able to actually offer help to the people around us, and obviously, we start small now, and hopefully, it can get bigger and bigger. Community is basically the centre of everything. I feel like that's how you get a fan base. That's like a little family. So, I think that's everything, and I think it's really important, and I don't think I'll ever not care about doing community shit and bringing people together personally.
Rudy: I think you rise up together as well. You have to build a scene or a community of special musicians, and it's very important to bring people together and build something. And that's how you can create a legacy and create a moment in history; rather, if you just think in a very singular way, I don't think you're going to get as far.
Rudy: I think you rise up together as well. You have to build a scene or a community of special musicians, and it's very important to bring people together and build something. And that's how you can create a legacy and create a moment in history; rather, if you just think in a very singular way, I don't think you're going to get as far.
And what’s next for Sounds Mint after this EP? Is there anything you can tell us about your upcoming projects?
Kelvin: We’re just always cooking, man. That’s it. World domination.
Rudy: It's always fun to dive into the next project. I personally always love the process of mixing and mastering as well. That's one of my favourite things about making music, to be honest, when you've got the song together and then the final process of the sonics before releasing it. So, I don't know. I just look forward to doing it all over again. Just like Jeremy Corbyn said… I'm back. And I'm ready to do it all over again.
Rudy: It's always fun to dive into the next project. I personally always love the process of mixing and mastering as well. That's one of my favourite things about making music, to be honest, when you've got the song together and then the final process of the sonics before releasing it. So, I don't know. I just look forward to doing it all over again. Just like Jeremy Corbyn said… I'm back. And I'm ready to do it all over again.
