New Believers is the follow-up to Minotaurs’ 2010 debut album The Thing, the album which galvanized its indie-afrobeat-protest sound. Out on January 22nd, 2012, New Believers was produced by Paul Aucoin (John K. Samson, Laura Barrett, National Parks Project, Hylozoists), mixed by Howie Beck (Feist, Jason Collett), and features contributions by Sarah Harmer and Casey Mecija of Ohbijou, among others.

New Believers reveals a darker, angrier, and grittier Minotaurs with songs such as the all-out afrobeat jam “Make Some Noise,” which Lawr wrote in a Chicago hotel room while the Quebec student protest movement unfolded. And the album’s first single, “Open the Doors,” a visceral funk-opus-duet with Harmer, written as a frustrated response to the G20 debacle in Toronto. “I wouldn’t say that our thing is “protest” music as such, “says Lawr, “but it does stem from a desire to be engaged in and to affect what is happening politically in this country and the world. People always tell me, “wow, you’re so political,” and I always respond with, “wow, you’re not?!” The truth is that we are political beings whether we like it or not. Every human being since the beginning of time has been born into some sort of political entity complete with rights and obligations and that doesn’t change when you decide to be uninvolved; it just means you’ve accepted that decisions will be made without your input. And I’m not comfortable with that.”

The album was recorded at Andy Magoffin’s new House of Miracles in Preston, Ontario, live-off-the-floor with the core 12 members. Having dabbled with guitars and pianos on previous records, Lawr returned to his roots on New Believers and played the drums himself. “Well, with a band like this, so rhythmically oriented, being the drummer was pretty sweet.”

Groovy and furious, New Believers picks up where The Thing left off and takes this new strain of Canadian indie folk-rock even further, carving out a bold new path.

“…a big shaggy dance band that often diverges from a charted route into a delta of melodic possibilities.” – The Globe and Mail