Julie Mintz

Los Angeles singer-songwriter Julie Mintz joined Moby’s band as a backup singer in 2011, and recently he returned the favor by producing her debut EP A Thin Veil. As the single “Till She Disappears” proves, it’s a far different type of joint than Moby’s usually known for—an elegant and bewitching blend of Americana and orchestral pop that sits somewhere between Gillian Welch and Lana Del Rey.
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The song was inspired by some dates Mintz went on early in her career with a much more well-established musician. “I was so intimidated by his talent,” she writes in an email to EW, “and the more I liked him, the more I would doubt and edit myself around him—a long-held unconscious habit, and a form of self-protection. It was unfortunate because as I was frantically trying to figure out who to be and what to say to make someone like me, I was slowly disappearing.”

“When producing this,” Moby adds, “I wanted the string arrangements and production to reinforce the contrast between strength and vulnerability in the song.”

A Thin Veil is out May 5. - Entertainment Weekly

Born in Corpus Christi, the Los Angeles-dwelling Julie Mintz is one of the few musicians who can boast about working with legendary innovator Moby. Mintz's album was produced by the bespectacled artist, and today, we're proud to premiere her video for "Til She Disappears." Don't let the mystical melodies and Mintz's enchanting vocals fool you. This video challenges feelings of isolation and loneliness, and the darkness is reflected in the imagery.

"My vision for 'Til She Disappears' was a video depicting the birth-life-death cycle through baptism, marriage, and a Virginia Woolf-referenced death," Mintz explains. "Erik Anders Lang is my long-time friend and collaborator and always down for making art together guerrilla style.

"We climbed a mountain — Erik was lugging camera gear, and I had vintage dresses slung over my shoulder — to reach the remote locations. While shooting the baptism scenes, I developed hypothermia (that waterfall is literally melted snow) and had to be carried out of the water, stripped naked on the side of the mountain, and wrapped in an emergency thermal blanket. But I survived, and we got a stunning shot, so it was all worth it."

Mintz's The Thin Veil EP was released earlier this year. - Pure Volume

Julie Mintz -- For fans of: Emmylou Harris, Joni Mitchell, Mazzy Star

There's a dreamy, nocturnal vibe afoot all over Julie Mintz's debut EP, The Thin Veil, and for good reason. The Los Angeles-based singer/songwriter, a chronic insomnia sufferer, wrote most of the songs in the wee hours.

"That there's a theory that some people believe, that you may have insomnia because the veil between the living and the dead is thinnest in the night," Julie says calling from home where she's recovering from a bout with laryngitis. "That's when a lot of creative types and artists are really alert because they're getting all this information from the spirit realm."

True to that sentiment, songs like the death-obsessed "Lavender Lips" drift woozily past like midnight fog with layers of acoustic guitars, orchestral strings and sighing pedal steel. Even Julie's cover of Credence Clearwater Revival's "Lodi" strips the song of its muscle to reveal it as stark and hopeless.

But The Thin Veil serves as a metaphor for much of the rest of the EP, where the truth is hidden from view and relationships are ultimately as fragile as a wedding veil. In the stunning opener, "Til She Disappears," Julie recounts a relationship she had with a fellow musician where she lost herself completely in the process of trying to please him.

"I noticed that's what was happening to me, and that had happened to me in a lot of relationships," she explains. "A lot of women have been able to relate to that song, so I think that's a common thing that girls struggle with. I know that I have. When you really like someone--I say it in the song--she wants to be what he wants to see, but who knows what that is, she don't know who she is."

The Thin Veil was produced by electronic musician Moby, in whose touring band Julie still frequently plays keyboards. While the man responsible for early 2000s tracks like "Southside" and "Body Rock" might not seem like the most obvious choice for a sincere set of gothic narratives, Julie insists that he has been one of her biggest champions.

"He really has an encyclopedic knowledge of a lot of genres of music," Julie says. "There was never any hesitation that he was the right person to do it. I felt like he understood me and understood my songwriting better than anyone else ever had."

As for making music like her boss, it was never a question: Julie cites Patty Griffin and Joni Mitchell as two of her biggest inspirations, and admits that she never listened to much else when she was younger.

"People ask me, 'How did you develop your sound?' And so I've realized that is a thing that happens to people," she laughs. "You have to figure it out and develop it. But this is the only thing that has ever come out of me." -Jon Freeman - Country Weekly

BIRTHDATE: the day after Valentine’s Day–I’ve always been just a little behind when it comes to love.

HOMETOWN: Corpus Christi, Texas

CURRENT LOCATION: a quiet canyon in Los Angeles, California

AMBITIONS: being happy, staying creative, writing better songs, falling asleep before 3am, love

TURN-OFFS: poor grammar, lack of compassion, rude people, having a stranger’s hair touch my bare skin

TURN-ONS: big brains, funny bones, clean sheets

DREAM GIG: opening for Joni Mitchell on her comeback world tour (clearly this is a selfish, fantastical scenario designed to allow me to see her perform!)

FAVORITE LYRIC:

I’ve been tryin’ to get down to the heart of the matter

Because the flesh will get weak

And the ashes will scatter

So I’m thinkin’ about forgiveness

Forgiveness

Even if, even if you don’t love me anymore

-Don Henley, J.D. Souther

(the 1st chorus says, “But my will gets weak / And my thoughts seem to scatter”; the 2nd chorus says, “But everything changes / And my friends seem to scatter”; and then my favorite is the 3rd chorus above, such brilliant changes.)

CRAZIEST PERSON I KNOW: Moby–the good, big brained, funny kind of crazy

SONG I WISH I WROTE: Dolly Parton’s “I Will Always Love You” has crossed genres and decades. Not to be confused with the song she wrote years earlier, “I’ll Oil Wells Love You,” about a girl who falls in love with a Texas oil man…and his money. Talent and a sense of humor!

5 PEOPLE I’D MOST LIKE TO HAVE DINNER WITH: My Grandma Libby who passed away when I was two, my mom, Patty Griffin, Nostradamus (preferably armed with some psychic prophecies), and Rumi

MY FAVORITE CONCERT EXPERIENCE: I was in 2nd grade when I went to my very first concert: the Michael Jackson “Thriller” tour in Houston, Texas. I still remember my big brother wore a red leather jacket with one glove, I wore a totally 80’s purple suede skirt that buttoned up the front, and my mom rocked the most amazing rainbow sequined tube top.

I WROTE THIS SONG: I wrote this song when I was just starting out as a singer and songwriter and went on a few dates with a really well-known, established musician. I was so intimidated by his talent, and the more I liked him, the more I would doubt and edit myself around him – a long-held unconscious habit, and a form of self-protection. It was unfortunate because as I was frantically trying to figure out who to be and what to say to make someone like me, I was slowly disappearing. I was blunting all the parts of myself that were unique and lovable. Writing “Til She Disappears” during that time in my life was my realization of that self-defeating behavior, and I think it’s something a lot of women can relate to. - American Songwriter

LA-based singer/songwriter Julie Mintz first popped on my radar last month when she opened for Moby during his ambient set at the Masonic Lodge, and wow, am I ever glad. I can safely say that her enchanting mix of otherworldly yet charming tunes was not at all what I was expecting to hear given the show’s headliner, but you know what? I was okay with that. More than okay, actually, seeing as how I’ve been revisiting her music with regularity since discovering it.

On the surface, Mintz’s music can be best described as “folk,” but probe a little deeper and you’ll find something a bit more haunting and troubled than your standard folk fare. Oh sure, her contemplative lyrics detail age-old struggles with loneliness and heartbreak, but they’re more than slightly biting and are paired with instrumentals that have melancholic — and occasionally ominous — undertones if you know where to look for them.

But hey, if my word isn’t enough to go on, Mintz has the backing of a certain musical powerhouse: Moby. He produced her soon-to-be-released EP, and they’ve been known to play more than a couple shows together (including the one that introduced her to me).

The phrase “soothingly cathartic” may seem oxymoronic, but the more I listen to Julie Mintz, the more sense it seems to make. If you’ve ever wanted to float away on a cloud of hopes, dreams, and despair, this is exactly the kind of music you’ve been looking for. - LA Music Blog

With her graceful grasp of melody and poetic yet piercing lyricism, Corpus Christi, Texas-bred and L.A.-based multi-instrumentalist Julie Mintz creates Gothic Americana—a country-infused take on folk that’s both sweetly ethereal and steeped in moody melancholy—on her debut EP, The Thin Veil, to be released May 5, 2015.

Produced by Moby (with whom Mintz has performed as a vocalist and keyboardist since 2011) and engineered by Darrell Thorp (7-time Grammy winner; Beck’s Morning Phase), The Thin Veil proves possessed of a dreamy sensitivity and soul-stirring honesty reminiscent of songwriters like Joni Mitchell and Emmylou Harris, while still “a bit more haunting and troubled than your standard folk fare.” (-LAMusicBlog)

“What I love about Julie’s music, and her approach to songwriting, are her prowess and vulnerability,” says Moby. “Her songs are complicated but they come across as quite traditional. And her singing and song structure have a vulnerability that distinguishes her music from so many other singer-songwriters.”

Led by her “angelic voice” (-Daily News LA), The Thin Veil delivers a rare gem of otherworldliness and mystical charm. A glimpse into her inner-workings, the EP title is reference to a longtime struggle with insomnia. Mintz explains, “In certain spiritual traditions there’s a theory that the veil between the living and the dead becomes thinner at night.”

While all of The Thin Veil is built on lush, atmospheric arrangements, each song delicately and seamlessly allows Mintz’s gorgeously rendered and quietly powerful lyrics to stand as its stunning centerpiece.

Find out more at www.juliemintz.com - Guitar World

Singer-songwriter Julie Mintz will be releasing her debut EP, The Thin Veil, on May 5th, and today's Jam of the Day is the fantastic and mesmerizing "Til She Disappears."

Dreamy stuff for your Monday. - Speakers in Code

Singer-songwriter Julie Mintz has kept busy as a member of Moby's band since 2011, and now she steps into the spotlight with her debut EP, The Thin Veil. Moby handles production duties and contributes photographs for the release, which encapsulate the EP's haunting, enigmatic sound. The five songs range from swelling, cinematic tracks, like opener "Til She Disappears," to the country-inflected "The Reason," and closing with a sober, stark take on CCR's "Lodi." - All Music

Take a backing member of one of dance and electronic music’s biggest names, add a splash of childhood country influences and the production magic of a distinguished employer, and what you have is the debut effort by Julie Mintz. Her day job playing with Moby may be a far cry from the rootsy Americana of her solo work, but the authenticity is ripe, and as she reveals over the course of our Q&A, the two have always gone hand in hand.

CF: You previously played in Moby’s band, but listening to The Thin Veil it is something of a far cry from Moby’s music. What was the reason behind the change or has it always been your first love?


What you hear on The Thin Veil reflects the music I have always listened to and loved. I grew up on classic country in Corpus Christi, Texas and had been writing songs for many years before I joined Moby’s band. In fact, when Moby and I first became friends, he would invite me over for tea and to play him new songs I was working on, so he always understood the kind of artist I was. I was surprised (and deliriously excited) when he asked me to play in his band, but he really is a collector of unique voices regardless of the genre. It was only after a few years of playing in his band, singing on his records, and him attending many of my solo gigs that he suggested we make a record together.

CF: The EP has all the traces of classic country such as melancholy lyrics and slide guitars but wrapped in a darker feel – was it a conscious decision to move away from some of the clichés of the genre but still show a love of the music?


It was really only a conscious decision in the sense that, as a songwriter, I have a phobia of clichés. I have always gravitated towards more melancholic and poetic stories. I was simply combining the musical sounds from my South Texas childhood with the dark stories of my inner-world and struggles. The EP was nearly complete when Moby commented that all of my songs have a very gothic feel. That felt like an accurate description and was how we came to describe the music as gothic Americana.

CF: What was it like to have Moby produce your album, especially given its not the first music you would associate with his catalogue of work?


Having Moby produce my first album was a dream! Well, except for that fact that I’m a pathological perfectionist, and Moby was determined to break me of this bad habit through a recurring insistence to allow me only one take in the studio. But, truly, because we had developed a friendship first and I had worked on some of his projects, it felt very natural and just like spending the afternoon with my best friend…best friend who is also my therapist? Moby has an encyclopedic knowledge of music, so he understood how to produce my songs even though it’s not necessarily a genre of music one would expect to emerge from his studio.

CF: Where do you find the inspiration for your music and lyrics?


As an artist, heartbreak and depression have been the best fuel for songwriting. Also, a fear of dying and fear of being alone forever. You know, just typical light fare. Waiting to be loved is a big theme as well.

CF: You cover Creedence Clearwater Revival’s Lodi on the EP – what was it about that song that made you choose to cover it, especially as it isn’t the band’s biggest song?


Lodi was Moby’s suggestion. He had always loved the song and thought the vulnerability in my voice would complement the hopelessness in the song. I also discovered that one of my idols, Emmylou Harris, released a more upbeat cover performed live at the Ryman in the early 90s, and so I was sold on the idea.

CF: Are you still playing in Moby’s band or will the solo career take precedence now?


I would like to play in Moby’s band as long as I can do both. I’ve been able to do the most exciting shows of my life as a result of being part of his band, like The Tonight Show with Jay Leno and 3 hour-long shows that have included an hour and a half straight of Moby’s hits. Moby made fun of me in front of a sold out crowd one night because, in rehearsals for the greatest hits set, I had raved to him about Bodyrock and said, “I danced to this song in high school when I was a cheerleader back in Corpus Christi, Texas. I LOVE this song! Who wrote it?!”

CF: Which artists were your heroes growing up?

I grew up listening to a lot of Patsy Cine, as her Greatest Hits record was my Dad’s favourite. I’ve always loved female voices and poetic lyrics. Joni Mitchell was one of my heroes along with Dolly Parton, Emmylou Harris, and Patty Griffin.

CF: What is the plan following the EP’s release?

My touring has been limited to the states so far, but I would love to tour more and be able to play this record for new audiences. And I’m always writing, so the plan is definitely to release a full-length album next.

CF: With country making a bit more inroads in the UK, is now a good time to be releasing an EP such as this?

The music that I make has never been calculated; it is simply an emotional expression of my neuroses and my inner-world mixed with the true southern influences from my childhood growing up in Texas. But that is really exciting to hear you say that there is a growing interest in authentic country music in the UK. Let’s hope now is a good time. - Culture Fly

The last EP I ever expected to hear was one where Moby helped produced 60s girl group style lush orchestration over classic country melodies, but that's where we got to today. We had a chance to chat with Julie Mintz about her new EP, The Thin Veil, and what it was like working with such a titan of electronic music as her producer. The EP itself is absolutely worth the time of anyone that loves Dusty Springfield or Emmylou Harris. It may seem like a contradiction that it even exists, but the results are undeniably beautiful. Below is the music video for one of the EP's tracks, "Wildflower," so you can be as excited for the new record as we are.

There's very much an influence of 60s female vocalists (Dusty Springfield springs to mind) with classic country as well on the EP. What was it like working with Moby -- who produced the EP on genres that seem so far outside of his wheelhouse?

Julie Mintz: I had complete confidence in Moby as a producer because he understood and appreciated the vulnerability that I was trying to communicate when I wrote these songs. He also had a surprising knowledge of classic country and very specific vocal treatments, for example, that were commonly used during that time. He immediately knew the 60s sound that he wanted to bring to the 3 part harmonies, which you can hear, in particular, on "Lodi." And because Moby and I have a strong friendship outside of our working relationship, making music together seemed like a natural extension. Oh, and a year before we made this record, I had started gifting with him mixtapes named "Moby's Gone Country" that were a selection of my favorite classic country songs, so he was prepared.

Speaking of those classic sonic influences, who were some songwriters/vocalists that had the biggest effect on your growth as an artist?

Joni Mitchell had a huge influence on my songwriting in terms of striving for poetic lyrics and interesting, beautiful melodies with range. A bit later I discovered Emmylou Harris. When I was just starting out singing and writing songs, an established artist who had harmonized with Emmylou Harris told me that my voice had similarities to hers. That was massively encouraging to me, particularly because I have a distinctive vibrato that had received mixed reviews at times. From then on I devoured all things Emmylou. And I can't leave out Patty Griffin. Her songwriting has been a touchstone for me.

You covered a Creedence Clearwater Revival song on the EP. What made you decide to tackle a song by someone as illustrious as John Fogerty?

Moby gets the credit for suggesting "Lodi." He felt that the desperation in the story would be a match for the natural vulnerability in my voice. I have loved so many of John Fogerty's songs-- "Have You Ever Seen the Rain" is a favorite. I had also read that he is a notorious perfectionist, having destroyed masters with which he wasn't satisfied, and I felt a sort of tortured-kindred-spirit in an artist with that level of self-criticism.

Fusing rootsy music with more orchestral arrangements is a choice you don't see very many rootsier acts make these days. What was sort of the thought process on working to mesh those two sounds?

Those beautiful orchestral arrangements came from Moby, and I think adding that element helps to reflect that, in addition to being an artist with rootsy musical influences from growing up in Corpus Christi, Texas, I also have this very vulnerable and emotional side to my writing. The strings served the purpose of adding drama and climax to my intimate Americana songs. The blending of those two musical elements are what enabled me to ultimately end up with dramatic and even cinematic versions of my originally simple, acoustic guitar songs, which was really exciting for me to hear. - Baeble Music

Hailing from Corpus Christi, Texas, and based out of Los Angeles, Julie Mintz doesn’t just do folk music. She makes gothic Americana, or what she describes as “a country-infused take on folk that’s both sweetly ethereal and steeped in moody melancholy.” After years of performing with Moby both as a vocalist and a keyboardist, Julie is making her mark as a solo artist with a graceful grasp on melody and penchant for poetic yet piercing lyricism (it should come as no surprise that Joni Mitchell is one of her biggest songwriting influences). Her debut EP, The Thin Veil, arrives May 5, with lush, atmospheric production from Moby and engineering by Darrell Thorp (Beck’s GRAMMY-winning Morning Phase). Largely inspired by her bout with insomnia and fueled by her creative spirit, The Thin Veil is a sort of cathartic experience, both for herself and the listener. “Songwriting lets me tell the darker stories about myself through melody and through lyrics that people can interpret in the way that means the most to them,” she says. “It’s a vehicle to express and work through my neuroses, so that it all goes down easier.” - BMI

MW: How does growing up in Texas compare to living in LA?

JM: My childhood in the coastal South Texas town of Corpus Christi could not have been more different from my current life in Los Angeles. I grew up in a large, close-knit family, and small-town life provided a sort of natural shelter from metropolitan superficiality and growing up too quickly, though it was still a good place to raise a little hell. Lots of riding in trucks with boys, bonfires and underage drinking on the beach, listening to classic country, and traveling 5 minutes to reach every corner of my hometown. I appreciate that Los Angeles is much more eclectic and liberal. I don’t appreciate that I can’t get anywhere in 5 minutes, and I struggle with punctuality as a result. While my parents still live in Texas, my sister lives close by, and a few of my childhood best friends live in LA as well. I’m lucky in that I have a piece of home in the big city.

MW: What are LA’s must sees? must dos? must reads?

JM: I’m particularly enamored with Los Angeles views which you can always get during a night drive on Mulholland.

I also recommend a visit to either the Museum of Jurassic Technology or the Bob Baker Marionette Theater. Both are so unique and transport you to another time.

I love vintage shopping and get a lot of my stage dresses and everyday clothes from Shareen Vintage downtown. I’m also a big fan of Reformation clothes on Melrose.

Beachwood Café has been my go-to lunch spot, as I used to live a block away. I’ve since moved, but it still feels like home.

Tennis in Griffith Park is great, preferably during afternoon sound check for whatever band will be playing at The Greek that night.

To fulfill the true Los Angeles cliché, you have to eventually embrace yoga, meditation, and therapy. I suggest Carolina’s class at YogaWorks Hollywood on Vine and sitting in on a meditation class with Mary at Against the Stream or trying mindfulness meditation at InsightLA. As for therapists, I’ve been to too many to list here!

Finally, I’m an absolute news junkie which I think I inherited genetically from my mom, so I read The Skimm and Yahoo News every morning; I also like Ryot News for philanthropy-oriented news.

MW: What are your transferable skills, from acting across to singing/songwriting?

JM: When I’m performing a song, it feels quite natural for me to recreate the story and the emotions in order to transfer that into the song performance, so I think that’s a bit of my acting background put to use. Emotional recall, I think they call it.

MW: Tell me about your gig at The Hollywood Forever Cemetery, Julie…

JM: Opening for Moby at the Hollywood Forever Cemetery was a dream gig, Mark. It was my first big run as a support act for a well-known artist, and I was, surprisingly, less nervous than I am for solo shows. I’ve long battled stage fright, but on a scale of one to panic attack, I was somewhere slightly below panic attack which is a huge accomplishment for me. Aside from lots of hypnosis ahead of time, I contribute this to Moby’s audience. It felt like people were there to appreciate a quiet, intimate performance, and the audience was so respectful. Plus, the performances were in a beautiful gothic masonic temple that added to the sacred feel of the shows.

MW: You site Joni Mitchell and Emmylou Harris as two of your major musical influences …what is you fave album of each of them? Why?

My favorite album of all time is “Blue” by Joni Mitchell. It’s the first album I heard that made me want to become a songwriter. Her voice, melody, and lyrics on that album are beyond explanation. It’s hard to choose just one favorite Emmylou Harris record. I actually really love her harmonies on Gram Parsons’ “Grievous Angel.” When two voices harmonize together like that, you can feel it in your bones.

MW: What ten tracks (by other artists) would you select for a Julie Mintz “Dark Moods” compilation mixtape?

JM:

“Boulder to Birmingham” Emmylou Harris

“Ghost” Indigo Girls

“Save Me” Aimee Mann

“You Are Not Alone” Patty Griffin

“If You Ask” Lori McKenna

“This One’s Gonna Bruise” Beth Orton

“Tryin’ to Get Over You” Vince Gill

“You” Bonnie Raitt

“Land Locked Blues” Bright Eyes

“Broken Telephone” The Be Good Tanyas

MW: What is Gothic Americana - a term ascribed to your sound?

JM: Moby and I sort of naturally began describing my sound as Gothic Americana in the sense that my songwriting has the Americana elements of folk and country coupled with the stories and tones of my darker inner-world.

MW: How did you get to connect with Moby?

Moby and I were across-the-street neighbors in Beachwood Canyon and began a friendship that involved a little bit of yoga, tea-drinking, lamenting current and failed relationships, and his input on my songwriting. As our friendship and his interest in my musicianship grew, he asked me to join him for different live performances. After a couple years of hearing my songs that I had been working on, he suggested I make a record with him producing.

MW: Julie, tell me all about your debut E.P - The Thin Veil…and how it was mixed in the studio…

JM: The Thin Veil is my first work that I’ve released, though I’ve been writing songs alone in my bedroom for years. This E.P consists of four songs that Moby helped me choose from my catalogue (plus a cover of John Fogerty’s “Lodi”). We tracked everything live in one day at a studio called The Bank in Los Angeles. I was lucky enough to have Darrell Thorp engineer that day (he has won 7 Grammys for his work with Radiohead and Beck). From there, Moby and I took the tracks to his home studio and added the string arrangements that give it that very cinematic, Moby-feel. Finally, my amazing friend Michael Patterson managed to find time to mix the EP, in between his work with Nine Inch Nails which keeps him busy most of the year.

MW: Is an album in the offing, next?

JM: Mark, I still have so many unreleased songs that weren’t included on the E.P that I would love to record for an album. And I’ve been working a lot lately on writing new songs, so that’s certainly up next.

MW: Where can we reach you?

JM:

www.juliemintz.com

Facebook.com/juliemintz

Instagram.com/juliemintz

© Mark Watkins / September 2015 - Consumer Guide Music

​Julie Mintz releases the somber new video for “Til She Disappears” taken from her latest EP “The Thin Veil” released earlier this year. The song is produced by legendary producer/DJ Moby and directed by Erik Anders Lang. - Georgie Magazine

Julie Mintz, a Los Angeles-based singer-songwriter, is a refreshingly elegant talent. The music video for her new single, “Wildflowers” — which Mintz directed and edited — is debuting on The Boot.

The clip evokes nostalgia in a simple and serene way. Filmed to look like a gritty, raw home video, Mintz gases up the car and peruses thrift stores and heads out onto the open road and meanders like a free spirit while her gentle vocals provide a gorgeous backdrop. Ever ethereal in a flowing white dress, the talented gal has a voice and classic beauty that will make viewers fall in love.

Mintz’s talent was recognized by singer-songwriter Moby, for whom she was a backup singer and keyboardist in 2011, and he produced her debut EP, A Thin Veil, which “Wildflowers” appears on. The blend of Americana and orchestral pop is reminiscent of Gillian Welch and Lana Del Rey, but Mintz makes the sound 100 percent her own.

Another single from the album, “‘Til She Disappears,” was inspired by a well-known artist who Mintz toured with early in her career.

“I was so intimidated by his talent,” she admits, “and the more I liked him, the more I would doubt and edit myself around him — a long-held, unconscious habit, and a form of self-protection. It was unfortunate because as I was frantically trying to figure out who to be and what to say to make someone like me, I was slowly disappearing.”

But it’s safe to say that Mintz has found out who she is, and Moby is totally on board with her sound as well.

“When producing this,” Moby adds, “I wanted the string arrangements and production to reinforce the contrast between strength and vulnerability in the song.”

The result is a project as unique as Mintz’s freckle-filled face — and just as effortlessly beautiful. - The Boot

L.A.-based singer/songwriter Julie Mintz creates Gothic Americana: a country-infused take on folk that’s both sweetly ethereal and steeped in moody melancholy. Produced by Moby (whose live band she joined as a background vocalist and keyboardist in 2011), Mintz’s brand-new debut EP, The Thin Veil, has a dreamy sensitivity and soul-stirring honesty reminiscent of songwriters like Joni Mitchell and Emmylou Harris.

Mintz’ new video for “Lavender Lips” takes us behind the scenes with Julie and Moby in the recording studio. Enjoy! - The Big Takeover

Julie Mintz is a singer and songwriter from Corpus Christi, Texas and next month she will release her debut EP The Thin Veil, which was produced by Moby, in whose band she sings and plays keyboards. One of its songs is “Til She Disappears”, and it is a spectacular epic: lushly produced, soaringly performed, confident and as deep as it is wide. The EP is released on May 5th, and you can find your copy here. Via American Songwriter. - The Autumn Roses

LOS ANGELES, CALIFORNIA – Texas-born songstress and current Los Angeles-resident Julie Mintz, a talented singer/songwriter/actress who joined Moby’s band in 2011 as a keyboard player and backing vocalist, has released her first solo project titled The Thin Veil, also produced by Moby. Of course, there are many reasons to be drawn to this blonde beauty; her music creates a deep, alternative-Americana sound drenched in some unique, elegant-goth vibe.

Born in Corpus Christi, Texas, Mintz studied classical piano from a very young age, graduated from high school as valedictorian and studied neuroscience and behavioral biology at Emory University in Atlanta. Although she claims to be from a non-musical family, this writer might tend to differ.

“I did not grow up in a particularly musical family,” Mintz said in an exclusive, Standing Room Only interview. “My dad played clarinet and my brother played trumpet, so I can’t say we would have made the most amazing trio... but I loved playing piano as a little girl - I had an obsession with the blues - and I also sang in choir. My main childhood musical influences came from the Patsy Cline Greatest Hits record that my Dad played on repeat, as well as the classic country that I heard on the radio growing up in Corpus Christi.”

While on summer break from college, Julie landed her first professional acting role in the Toby Hooper film Crocodile, before finishing her degree early and moving to Los Angeles. She has also appeared in several national television ads as well. “I moved to Los Angeles after finishing college early, however, I began suffering from severe anxiety while working in a hospital oncology ward and made the decision to forego a medical degree... I reconsidered pursuing music, my childhood love.”

After moving to L.A. Mintz began writing songs, dozens and dozens of them and before hooking up with Moby, her song “Over” appeared in an episode of the TV series What About Brian and another original song called “Fight the Good Fight” and her cover of Leonard Cohen’s “Hallelujah” appeared in the independent film The Putt Putt Syndrome. So, how exactly did Julie come about meeting the platinum-selling Moby? Well, as fate would have it, he moved into a house across the street from her in Beachwood Canyon, California.

“One Sunday afternoon, I came outside to find a stranger moving my trash cans to park in my driveway,” Julie said. “He seemed caught red-handed and was super apologetic about needing to find parking to attend my new neighbor’s housewarming party... I thought the whole incident was very funny. Out of remorse, I think, he insisted that I go to the party with him. I’m really shy and not into party crashing, but I clearly have bad boundaries, so I went. Moby was so friendly and after that, he would often invite me over for tea and to hear new songs I was working on.”

Moby eventually invited Julie to sing backup and play in his band for various gigs, television appearances and recording projects, including an appearance on The Tonight Show With Jay Leno, contributing lead vocals to a Moby bonus track called “I Tried” and appearing with Moby on the Conan show for his single “The Perfect Life.”

Mintz also recorded a duet lead vocal with Moby for his beat-driven “The Only Thing,” which he wrote for the Paul Haggis film Third Person. The video for the song also features Mila Kunis, Liam Neeson, Maria Bello, James Franco, Adrian Brody and Olivia Wilde.

Julie has also performed live with Camp Freddy, a rock group of established musicians who perform covers at various shows. The band currently features Dave Navarro (Jane's Addiction), Billy Morrison (Billy Idol, The Cult), Matt Sorum (Guns N Roses, Velvet Revolver), Donovan Leitch, Jr. (Nancy Boy) and Chris Chaney (Alanis Morissette). Mintz was also the opening act for Moby and sang in his set during a series of ambient shows at the Masonic Lodge at The Hollywood Forever Cemetery.

In the spring in 2013 and choosing from some 60 songs she had written over several years time, Mintz began recording her debut release, a 5-song EP titled The Thin Veil. Released on Manival Vinyl Records, the EP was produced by Moby and engineered by Darrell Thorp, a seven-time Grammy Award winner who has worked with the likes of Radiohead and Beck.

“The title was inspired, since it says a lot about me and from where the art emerged. It refers to my longtime struggle with insomnia and the idea that in certain spiritual traditions, there’s a theory that the veil between the living and the dead becomes thinner at night,” Mintz said.

“It’s thought that artists and creative people often have insomnia because this thin veil gives them easier access to the spirit realm and thus, heightens their creativity. The veil image, for me, also evokes the fragility of the marriage veil and the funeral shroud, as well the concept of disguising oneself. So ultimately, the record encompasses love and death and all kinds of hidden feelings.”

These dark, alt-country songs are self-described as Gothic Americana and the multi-instrumentalist brought several musician friends in to contribute including Moby and pedal-steel guitarist Michael Rozen. “For years, well before I met Moby and joined his band, I was writing songs alone in my apartment in the middle of the night,” Julie said.

In fact, it was Moby who encouraged Mintz to release her own music, as they got together in his backyard to listen to her songs and choose what to include on the record. “I trusted him on the song selection process. Since he was lending his name as producer, I wanted him to love the songs we would be working on. We only required one studio day for live tracking of the five songs we chose and I was also very lucky to have Darrell Thorp as the engineer that day... who has engineered amazing albums for Radiohead and Beck.”

After the initial tracks were recorded, Julie and Moby got together at his home studio and worked on the tracks, with him adding string arrangements and other of his signature sounds. “It took a bit of time because Moby is an artist first and always working on his own new material, as he puts out a new record just about every year. But it was perfect that we have developed such a close friendship because making the record almost gave us an excuse to pencil-in time together.

“The common themes in my writing were always the darker stories of my inner-world,” Julie continued. “That, mixed with my childhood influence and love for classic country, resulted in a dark alt-country sound to my songs. While we were finishing the record, Moby commented that my songs had a very gothic tone and once I played the record for people, everyone began referring to the music as Americana... and so the Gothic Americana description stuck... it came very naturally.”

Although Moby produced The Thin Veil, he also encouraged Mintz to get her hands dirty and learn as much as possible about the recording process. “Moby was the first person to really believe in me as a songwriter and encourage me to release a record, but he also wanted me to learn every aspect of the process and do as much of it myself as possible.

“While he played so many of the instruments and brought so much to the final sound of the songs, he was tough on me and had me learn ProTools and do as much work as possible in my own home studio. He was sure to never help with something that he believed I could learn to do on my own. But, you know, he was always waiting in the wings like a supportive big brother the moment I really needed his musical expertise."

The Thin Veil was released in early May, with a CD release party held in Los Angeles at a show called School Night and hosted by KCRW-radio DJ Chris Douridas. Julie is planning to do more solo shows to promote the disc, as well as continuing to perform with Moby when time allows. “It’s always a thrill to perform with him, from The Tonight Show to sold-out greatest hits sets... and he’s also helped me promote The Thin Veil by having me open a series of ambient shows.”

Stay tuned, for it feels like this is only the beginning of what this talented artist will have to offer the world moving forward. To learn more about Julie Mintz and The Thin Veil, visit her website at www.juliemintz.com - Standing Room Only

The vocalist/keyboardist’s debut EP, produced by longtime boss Moby, showcases her vulnerable, crystalline soprano tones and dreamy atmospheres fleshed out with guitars, piano, pedal steel, percussion and Moby’s dreamy string arrangements. He does right by Mintz; the production complements every tensile ache expressed in her light vibrato. Her melodic tunes, poised between dark acoustic folk and pop shimmer, could appeal equally to fans of Appalachian balladry and Goldfrapp (especially “Lavender Lips”). At Bardot in Hollywood Monday. juliemintz.com - Pasadena Weekly

The crowd filtered into the intimate venue slowly. When the lights were dimmed, the luminous Julie Mintz took the stage with her band and warmed it up with charmingly woven folk ballads. Although the twang of guitars would contrast starkly with the music that was to come, her sound was soothing and worked equally well in the venue. - LA Music Blog

“A lot of it stems from my desire to not do normal touring because I really don’t like touring,” explained Moby at the lodge, while show opener Julie Mintz’s angelic voice echoed in the background during rehearsal for the Dec. 16 show. - Los Angeles Daily News

Every month, Utne Reader presents free, downloadable music gleaned from current and upcoming music releases on independent labels.

Utne Reader has made “Til She Disappears” off of The Thin Veil EP a free download for the month of May! - Utne Reader

The stars were out in full force Wednesday night to see singer-songwriter Julie Mintz‘s performance at a secret lounge in Hollywood!

“The bar is so exclusive that Ryan Seacrest was worried he wouldn’t get in!” a source told Popdust. As amusing as the thought of Ryan Seacrest getting turned away from anywhere is, luckily the pint-sized TV icon managed to get a pretty nice little corner booth, while gorgeous Glee star Dianna Agron worked the room like a pro.

Jonathan Rhys Meyers and his gal pal were spotted slow dancing at the bar, and upstairs, in his own private dining room (of course!), Jay Z took in the show over a sumptuous steak dinner.

Rumor has it, it was meant to be a boy’s night out with Chris Martin, but Chris got stuck in traffic. Or is “traffic” code for Jennifer Lawrence?

Ho ho ho! - PopDust

Corpus Christi native, Julie Mintz, returns home after launching music career with multi-Grammy winning artist, Moby. - The Bend Magazine

LOS ANGELES, CA – With her graceful grasp of melody and poetic yet piercing lyricism, Corpus Christi, Texas-bred and L.A.-based multi-instrumentalist Julie Mintz creates Gothic Americana—a country-infused take on folk that’s both sweetly ethereal and steeped in moody melancholy—on her debut EP, The Thin Veil, to be released May 5, 2015.



Produced by Moby (with whom Mintz has performed as a vocalist and keyboardist since 2011) and engineered by Darrell Thorp (7-time Grammy winner; Beck’s Morning Phase), The Thin Veil proves possessed of a dreamy sensitivity and soul-stirring honesty reminiscent of songwriters like Joni Mitchell and Emmylou Harris, while still “a bit more haunting and troubled than your standard folk fare.” (-LAMusicBlog)



“What I love about Julie’s music, and her approach to songwriting, are her prowess and vulnerability,” says Moby. “Her songs are complicated but they come across as quite traditional. And her singing and song structure have a vulnerability that distinguishes her music from so many other singer-songwriters.”



Led by her “angelic voice” (-Daily News LA), The Thin Veil delivers a rare gem of otherworldliness and mystical charm. A glimpse into her inner-workings, the EP title is reference to a longtime struggle with insomnia. Mintz explains, “In certain spiritual traditions there’s a theory that the veil between the living and the dead becomes thinner at night.”



While all of The Thin Veil is built on lush, atmospheric arrangements, each song delicately and seamlessly allows Mintz’s gorgeously rendered and quietly powerful lyrics to stand as its stunning centerpiece. “If you’ve ever wanted to float away on a cloud of hopes, dreams, and despair, this is exactly the kind of music you’ve been looking for.” (-LAMusicBlog) - Press Release

"Thank You For Leaving Me Behind" is nominated for Best Folk/Acoustic Song at the 17th Annual Los Angeles Music Awards this year. Winners will be announced at the the awards show on November 29, 2007. - Nominee 2007 Los Angeles Music Awards

"You'll know immediately that Julie's voice is one of those rare and
beautiful human instruments. But take a moment and listen to the
lyrics. This is also one hell of a writer. There's an amazing
facility and sad humor at work here that will keep you coming back to
these songs again and again." -Josh Olson, Academy Award Nominated Writer "A History of Violence," Director - Josh Olson-Academy Award Nominated Writer "A History of Violence," Director