Best EPs (or mini-albums) of 2023
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Best EPs (*or Mini Albums) Of 2023
Today, we are very excited to share our favourite EPs of 2023. With a caveat: we’re including what we’ve called “mini albums” in this list. What does that mean? Well, some EPs are 6 songs. Some albums are 7 songs. Some albums are 1 song that’s 20 minutes long. If you can listen to it on your commute to work, it belongs on this list.
EPs are short and snappy, the musical equivalent of a short story. It’s hard to make an EP that’s compelling, and gets to the bottom of what the band is about in under 20 minutes. All the artists on this list have done just that, and we’re pleased to highlight 20 truly extraordinary releases in a year full of great music.
Without further ado… please take the time to read about, and listen to our favourite EPs (and mini-albums) of 2023.
#20 - Patrick Holland
Ending in 1000 // Self-Released
This year Montreal’s Patrick Holland followed up his fantastic 2022 album, You’re The Boss, with a slew of new singles but it was his EP, Ending With 1000, that really stuck out. From the club banger, “Acoustic Serenade”, to the downtempo closer, “Shiny Tune”, this little four track gem has something for any electronic music fan.
- Jeff MacCallum
#19 - Em & Djeez
Em & Djeez // Self-Released
Em & Djeez just started putting out music this year, and by all accounts, it’s unfair that it’s this good. They are top notch lyricists, with a knack for making some very hip production choices. The closing track “Down, Down, Down” is a particular highlight, with a Malkmus-like stream of consciousness narrative, over top of a groove featuring a great roomy drum sound and an autoharp. If that doesn’t get you pumped up, I don’t know what will.
- Sean Davis Newton
#18 - Täibï Yösha
True Colors // Bonsound
Montreal’s Täbï Yösha exploded onto the Canadian music scene in 2023 with her debut EP, True Colours, which arrived on August 18th via Bonsound Records. The five track release fuses R&B and Neo-Soul with big electro-pop beats but it’s Yösha’s voice that rises to the top as she explores heartbreak and other difficult challenges that life can hurl ones way.
- Jeff MacCallum
#17 - Word Burglar
Spinner Rack EP // Self-Released
Over the years, Wordburglar has given us tidbits of his nerdy side but on Spinner Rack, he finally goes full geek. The EP showcases his intricate rhyme craft over fun boom-bap beats but the way Wordburglar employs his unique cadence to fly his nerd flag high is what really charms the listener. Every song analyzes the good and bad aspects of a lifelong love of comics, superhero’s, cartoons, and hobby stores with extremely clever wordplay and the best beats we’ve ever heard on a Wordburglar release.
- Jeff MacCallum
#16 - Taxi Girls
Coming Up Roses // Wild Honey Records & Dirt Cult Records
Montreal punk trio Taxi Girls have cracked the code. Busting out bracing riffs and bristling beats, they have found the perfect blend of catchy melodies and memorable hooks to carve out their own niche in the punk scene, with wonderfully off-kilter lyrics and vocals that deliver equal parts conviction and sarcasm. It's an irresistible combination.
- Harman Burns
#15 - Grimelda
It’s So Feeling When You Rock // Transistor 66
A genre-defying garbage can gumbo from everyone’s favourite experimental noise punk goblins, an EP like this might be the perfect package for appreciating the methodically chaotic and ever-weird rock of Grimelda. As a listening experience, it’s a bit like watching a David Lynch film – you’ll enjoy yourself a lot more if you abandon any preoccupations with understanding exactly what’s going on.
- Julie Maier
#14 - Sister Ray
Teeth // Self-Released
Ella Coyes’ Sister Ray has levelled up in 2023’s EP Teeth. It is self-actualized and demanding, and heavy like slow summer heat. Teeth was produced by Joe Manzoli and Jon Nellen of ginla, and the three of them (Joe, Jon, and Ella) played everything on the four tracks recorded over five days. There is something intangible but undeniable about a piece of work created in a short period of time by a small group of collaborators. There is a crack of potential energy running through this EP, especially in its stand-out title track. Coyes’ husky voice is frank, and contains a quiet desperation. Of the song, they say, “‘Teeth’ is like a super-cut of nostalgia that morphs into whatever the mid-20s equivalent is of finding out that the tooth fairy isn’t real but hating that you have to know.”
- Sophie Noel
#13 - Pop Pop Vernac
Screaming Everywhere // Self-Released
The latest Pop Pop Vernac EP Screaming Everywhere absolutely ripped my head off the first listen. The four track punk EP is moving forward and shouting back to punk pioneers from the past like The Minutemen, The Hives and The Damned. With its loose energy and tight performances this project contains dynamic and innovative material to inspire and create energy. “The Sales” opens the record with a straight ahead hook and vocal line followed by wildly fast and dissonant instrumentation. “My Heart is Set on You” is a funky garage rock banger set at a slightly slower tempo than the other tracks. If Richard Hell somehow stumbled himself into a garage punk band in 2023 and wrote a song this is what it would be. The next track “Recess” brings you back to the chaotic yet visceral energy that starts the EP in “The Sales”. The energy stays strong through the final track “Mezcal in my Veins” with its pummeling drums and guitar tone. If you want to headbang for 15 minutes on your lunch break and hear a refreshing take on modern punk this EP will not disappoint.
- Ben Lock
#12 - Wands of the Minor Arcana
Into the Gloaming Isle // Voice of the Ainur
The debut EP from Wands of the Minor Arcana (Harman Burns) is an impressive ambient work that will swallow you into its fantasy world. “Inspired by nature, folklore, the occult, and bodily transfiguration,” Into the Gloaming Isle harkens to tabletop RPGs and retro video game music to craft an engrossing and engaging sonic landscape. Summoning the creative gumption to imagine the world of Gloaming Isle is easy when paired with the rich imagery of the written narrative posted to their Bandcamp page. You can almost feel the fog settling on a gloomy dawn as waves crash on the shore and warm electronics pulse and swirl; at first optimistically, before the gloom of the forest eventually chokes out the light. Burns gently takes us by the hand, showing us the peace and perils of Gloaming Isle.
- Clay Geddert
#11 - The Halluci Nation
Path of the Heel // Self-Released
The Halluci Nation is an indigenous electronic group, formerly known as A Tribe Called Red. Their newest EP Path of The Heel is a short insight into the group’s incredible melange of musical influences; perfectly melding together dubstep, hip hop, drum and bass, and traditional Indigenous sounds. It was super interesting listening to the EP for the first time and hearing sounds from a much older musical traditional integrated into the electronic soundscape that The Halluci Nation has put out for us here. I am very excited to delve deeper into this group's discography; Path of The Heel has left me thirsty for other crossovers between modern and traditional Indigenous music, and luckily for me they have lots more to listen to. I highly recommend this EP as a foray into this style of music which, if you’re like me, you may not have heard much of.
- Kaden Peaslee
#10 - Wayfinding
Wayfinding // Victory Pool
Wayfinding is a new supergroup of sorts out of Edmonton. It’s led by Marek Tyler (nêhiyawak), in collaboration with Ryan Beattie (Chet, Himalayan Bear), Cassia Hardy (Wares), and Matthew Cardinal (nêhiyawak). The five songs that comprise the EP are textural, rambling, and atmospheric. [T]hematically, it's about dipping into fading memories and pulling them into sometimes reverent, comedic, or melancholic regions,” Beattie says of the EP. I hear traces of a Stephin Merritt-esque influence in the lyrical style (verbose, clever, humoured; they drop “miasma” in there at one point), and Timber Timbre as well. There are plenty of sombre keys-and-bass landscapes contributed by Matthew Cardinal, with tones to die for (no surprise there). It's a journey!
- Sophie Noel
#9 - AANTHEMS
New Ruins // Early Onset Records
The brash, heavy, and hardcore sound of Vancouver based AANTHEMS has launched an attack on our earholes yet again. The two piece band consisting of brothers Geof and Ryan pack a surprising amount of power and variety into their latest EP New Ruins. Not your average hardcore 7”, these guys use bass and drums to give a full spectrum sound that comes at you from all angles rather than a stripped down lo-fi sound. The riffs keep coming track after track, each one as heavy and compelling as the last. They pepper in some strumming techniques which when played on bass will totally have you fooled and forgetting this band only has two people in it. The drums keep pounding away providing much of the heaviness and drive that AANTHEMS offers. Staying true to the namesake of the band, the EP’s lyrical content is a constant barrage of anthemic phrases and calls to arms that are unbelievably catchy and stick with you long after listening. New Ruins drips with the blood and soul of these two brothers, providing a heavy sonic assault that even a four piece band would have to be happy about.
- Nigel Young
#8 - Katie Tupper
Where to Find Me // Arts & Crafts
The fact that the best Soul EP of the year comes out of Saskatoon should be surprising, but somehow it isn’t; Katie Tupper’s new EP Where to Find Me is more proof that the music scene in Saskatoon is the place to be. Tupper spent some time as part of Saskatoon soul collective vbnd, and released her debut solo EP in February of 2022. Arts & Crafts took notice and signed her earlier this year, with good reason; Tupper’s voice is incredible, with a laidback wisdom and longing that lends itself well to the higher than average concentration of ballads on the EP. “Little Love” and “Comfort” are particular highlights; the horn stabs add a really nice texture to both songs, and Tupper really shines on the more rhythmic vocal lines. All of it is tied together by a kickass band that’s impossibly tight, and production that’s spacious and understated.
- Sean Davis Newton
#7 - Boy Golden
For Jimmy // Six Shooter
The founder of the Church of Better Daze presents a new offering, awash with fast-picked guitars and warmly witty lyricism. Boy Golden’s unique brand of stoner country evokes the soul of the old-school balladeers, delivered with modern indie rock energy.
The opening track, “Mountain Road,” features a heavy, dropped-tuned riff. Lyrics like, “The closer you get to the best you had yet, the harder it is to know,” describe the search, geographical or spiritual, for oneself—or a new version of oneself.
Other highlights include “Aging Mr. Riley,” a galloping tale of rigged horse races and gunfire, and “Out on the Weekend,” a gentle waltz recounting a night at Winnipeg’s beloved Times Changed High and Lonesome Club.
Whether intimate or offhand, vulnerable or facetious, BG’s songwriting soothes and entertains like banter between old, dear friends.
- Ava Glendinning
#6 - Dacey
Just a Taste // Self-Released
DACEY is the heady neo soul-infused indie pop gift that just keeps on giving. Over the past few years the Vancouver-based group has amassed a healthy clutch of EPs and singles full of butter-smooth beats flecked with lo-fi spice blends and vocals that overflow with off-the-cuff charm and infectious charisma. 2021 EP SATIN PLAYGROUND featured easy-listening jams like Broccoli’s Keeper and I’ll Be There, and now the duo have brought us the tender and delicious follow-up, JUST A TASTE.
The four lustrous tracks seduce and entrance, console and embrace. Each free-floating verse is a masterclass in sultry, coasting vocal deliveries by Dacey Andrada, and the gauzy production is dialed in to tack-sharp perfection. Stand-out track “GETAWAY” features queer hip-hop luminary Kimmortal, and the pairing is pure magic.
This stellar EP may only be a taste of what DACEY has to offer, but it is music that’ll leave you full— and still coming back for more.
- Harman Burns
#5 - DjisahSB
Just a Taste // Self-Released
DjisahSB has unleashed a sonic banquet with their latest offering, Tasty Raps Vol. 2. This album is a delectable next chapter in this artist's cannon, showcasing DijahSB's undeniable growth and versatility as a rapper. From the laid-back production to the razor-sharp lyricism, Tasty Raps Vol. 2 is a feast for the ears that leaves listeners craving more.
The album starts with the infectious groove of "I Feel Like Rihanna," a track that sets the tone for the entire project. The production perfectly blends smooth instrumental influences and modern trap beats, creating a sound that's simultaneously nostalgic and fresh. DijahSB's flow is impeccable, effortlessly riding the rhythm with swagger and charisma.
The standout track, "Still Got The Sauce," is a highlight for its infectious instrumental, clever wordplay, and introspective verses. DijahSB weaves through personal experiences and societal observations, delivering lines with poetic finesse.
The album's title, Tasty Raps Vol. 2, is fitting, as each track serves a unique flavour of lyricism and production. "Bass Drives" introduces a more laidback vibe with a chill beat that complements DijahSB's confident delivery. The energy is infectious, and the verses are filled with clever wordplay, showcasing the artist's ability to balance accessibility with substance.
As the album progresses, it becomes evident that DijahSB is fearless in exploring different sonic landscapes. "Too Much To Do" is a personal venture through the artist's thoughts, featuring a bouncy production that captures the essence of the artist's flow. DijahSB's pride for their artistry is palpable, and the track serves as both a celebration of their growth and a testament to the artist's roots.
A significant moment on the album comes with "All In The Way." Over an uncompromising beat, DijahSB reflects on personal growth and the challenges faced on the path to success. The vulnerability in the lyrics compliments the overall aggression and depth of the track.
The production throughout Tasty Raps Vol. 2 is a testament to DijahSB's eclectic taste and ability to adapt to different styles. From the laidback vibes of "I Feel Like Rihanna" to the beat-heavy "All In The Way," the album maintains a cohesive sonic identity while keeping listeners engaged with its variety.
Tasty Raps Vol. 2 triumphs for DijahSB. The album showcases their lyrical prowess and ability to craft infectious hooks and navigate diverse production styles. With each track offering a unique flavour, DijahSB proves that they are not just a rapper but a true artist with a distinct voice in the hip-hop landscape. Tasty Raps Vol. 2 is a testament to the artist's evolution and a promise of even greater things.
- Earl D
#4 - David Ivan Neil
Daffodils // Self-Released
There is something about the songs that David Ivan Neil writes that get to the bottom of what folk music really is, and how it should feel. He’s plainspoken, yet elegant; he’s funny, while being serious; his songs feel so authentically like himself. The six songs on his 2023 EP Daffodils reflect on romantic partnerships, aging, and the passage of time; all heavy topics, to be sure, but there’s something about Neil’s lyricism and delivery that are so immensely personable that you can’t help but listen again.
The EP begins with the title track, a slow burn, lyric driven enterprise that sets the tone for the rest of the EP. Normal Horse, the band that David Ivan Neil worked with on the whole EP, really shines on this track, getting to just sink into a groove, while the almost dream like doubletracked vocal floats on top. There’s something about the simplicity of the observations that Neil is making throughout the song that are so simple and obvious as to be quite charming and disarming; he sings “Baby we’re just like the 1994 Canucks; cause we’re such an amazing team”, and lines like these that are simple, funny, and effective are David Ivan Neil’s bread and butter throughout Daffodils.
There’s some shared DNA between David Ivan Neil’s latest and the work of the Silver Jews’ David Berman. It’s outsider folk, it’s a little bit twangy, it’s a little bit hip, and a little tough to put in to any one box, other than one simply labeled “good music”. But it is music primarily characterized but a lyricist who can really fucking write, and has learned to sing what he writes in a way that is sincere, believable, and full of character.
- Sean Davis Newton
#3 - Facecut
Facecut // Self-released
A blazing ripper of an EP, this self titled Facecut project blasts and stomps its way into the cosmic ether of psych rock. Combining elements of punk, garage rock, and 60’s psychedelia, Facecut have given us an incredibly fun and addicting EP that will encourage many replays. The tone of the EP is drenched in delay and reverby goodness giving it that slightly surfy west coast vibe. It has a fast and youthful energy, which most modern pop punk bands can barely even scratch at, that makes it feel fresh and edgy. With the band only being a three piece project, this EP has the rare ability to be both simple and minimalist while also having a rich atmosphere.
Hailing from Lethbridge AB, Facecut is one of the few Canadian acts carrying a torch lit by modern legends like Ty Segall and Thee Oh Sees, naturally making them criminally underrated. It’s a sound that seems to have fallen out of favor since the pandemic however thanks to these psyched crusaders, us Canadian freakadelic worshippers can have faith it will live a while longer.
- Nigel Young
#2 - JayWood
Grow On // Self-Released
A year after his rightfully-lauded breakthrough album Slingshot, JayWood returns with Grow On, a “continuation of the sonic playground” from his last record that both closes the loop of his recent work and set the stage for what’s to come.
Opener “Heavy Eyes,” a manifesto for clarity of mind, spirit, and destination, is a richly-produced and shape-shifting track. It bounces skillfully between building tension with frantic experimental beats and providing relief in a satisfying alt-soul groove. “Dirk Gently (Know Yourself)” is vintage JayWood, layering bedroom pop synth tracks with an impeccable rhythm section and a chill yet infectious melody. Again, JayWood shows off his sense of space, giving the song some room to expand and breathe in the spaces where it needs it most. On what’s an original version of a favourite track from Slingshot, with “Thank You (OG Version)” we get to hear a quieter, more emotional take on the tribute to Jeremy Haywood-Smith’s late mother. Honouring his mom’s musical tastes with nods to Motown and Black gospel, it’s a meaningful addendum to JayWood’s previous album.
The EP closes out with “SWEET,” a cover of a song by Tyler, the Creator that seems to situate JayWood back in his bedroom studio, absorbing the musical influences of his biggest inspirations and using that to creatively fuel what’s next. Growth is good, but Grow On also seems to appreciate that some ideas are just too good to leave behind.
- Julie Maier
#1 - Cots
Moonlit Building // Boiled Records
Little else could compare to the EP landing at our top spot this year. The solo project of Montreal composer Steph Yates, Cots’ somber and spellbinding folk masterpiece Moonlit Building is a surreal, dark comedy noir for the modern era. Along with the powerhouse production prowess of Olivier Fairfield (Andy Shauf, Last X, FET.NAT, Album, etc.), Steph Yates spun a delicate web of musical arrangements buoyed by surreal lyricism to take us through the noir corners of her imagination.
What sets this EP apart is the palpable musical rapport between collaborators. They instinctively play off each other as the percussion pushes and pulls the tempo, gently flirting with grooves just to shy away from them once you think they’ve settled in. Even when grooves seem elusive, they hardly feel haphazard. At times it’s like listening to raindrops falling erratically on a drum kit, at others, we’re comforted by the familiar sounds of Bossa Nova. Much tension is built and assuaged from Fairfield’s instinctive percussive movements while Yates spins a web of poetic noir surrealism all around it. Few other instruments fill the rest of the space, serving to draw extra attention to each part of the tapestry. Warbling guitar, faint horns, and brooding electronic ambience collide and morph around each other in swirling hues – sometimes harmonious, but often dissonant.
“Devil Does” is a beautiful example of the brilliant delicacy of Moonlit Building. Recorded to an iPhone, it is a brooding and dark jazz skeleton that barely drags itself forward. Little more than lightly plucked nylon strings and faintly feverish percussion give Yates the platform to playfully spin dark humour from the feeling of being possessed. While other tracks on the album matured past the demo stage, “Devil Does” clearly shows the strength of these songs without the polish of production. Fairfield’s restraint compliments and elevates Yates song writing to great effect.
Moonlit Building is unassuming on its face, but quickly reveals the depth of its character. Yates voice has a gentle intimacy that soothes just as her lyrics confound. Altogether, it’s a nuanced and engaging collection of songs that open themselves to the listener differently each time you listen. Drenched in percussive charm and somber surrealism, Moonlit Building assertively landed as Cups ‘N Cakes #1 EP of 2023.
- Clay Geddert