Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal’s NO JOY has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over the course of four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category.
It’s no surprise, then, that this new No Joy EP, Can My Daughter See Me From Heaven, sees White-Gluz finding new things to mine and explore from the 2020 LP Motherhood. Once again pulling sonic inspirations from every corner the band had mastered before, Motherhood is a staggering and melancholic tapestry of fuzzy, 90s/early 2000s nu metal and trip hop, faithful shoegaze, and bold lyricism– with blunt meditations on femininity, fertility and mortality–all while maintaining a sense of humor.
Comprising the tracklisting of Can My Daughter See Me From Heaven are four Motherhood tracks, all of which were reworked during the COVID-19 pandemic. Mixed by frequent collaborator Jorge Elbrecht, mastered by Heba Kadry, and co-produced by White-Gluz and Tara McLeod (who also lends her guitar work to the recordings), the new takes veer into slower, dreamier territory…but calling it “softer” would be a disservice. To help re-conceive the tracks under a new light, White-Gluz enlisted a fresh set of collaborators: there’s booming percussion from Sarah Thawson, a cutting cello from Ouri, delicate harp work by Nailah Hunter, and French horn from Brandi Sidoryk — who also provides backup and operatic vocals.They settle into a strange and confident harmony, highlighting the urgency of Motherhood’s themes, as White-Gluz’s hazy, ethereal vocals soar over the din.
Aside from these reimaginings, there’s another delightful surprise: a dusky cover of Deftones’ immortal classic “Teenager” rounds out the five song EP. It’s no wonder that a song by Deftones, another band willing to bulldoze through sonic boundaries, would find a home here. There’s a kinship between these artists that makes this cover even more necessary.
With Can My Daughter See Me From Heaven, No Joy continues to conjure an effortless mix of sound, achieving new heights, while playing with the more traditional confines of the shoegaze genre.
Can My Daughter See Me From Heaven will be released May 19th 2021
via Joyful Noise (ROW) and Hand Drawn Dracula (CAN).
“Gorilla vs Bear’s Albums of 2020” – GORILLA VS BEAR
“No Joy seems to have cracked a code to infusing shoegaze with more peculiar genres: trip-hop, R&B, and even nu-metal – to explore unclaimed territory and create a new sound for herself” – FAVOURITE FIFTY OF 2020 – DOMINIONATED
“an exhilarating, shape-shifting art-pop statement” – APPLE MUSIC
“one of the most distinguished shoegaze acts of the last decade”… “a shoegaze album with a rare scope and an even rarer sense of fun and imagination” – 8/10 PITCHFORK
“a blisteringly progressive record – one that genuinely feels years ahead of its time” – 9/10 THE LINE OF BEST FIT
“a 42-minute whirlwind of dreamy, danceable, shape-shifting art-pop that feels both chaotic and carefully controlled; staggeringly complex and laser-focused; exhausting and exhilarating” – 8.4/10 PASTE
” White-Gluz branches out fearlessly in all directions on Motherhood … and takes No Joy’s always-restless creative spark to unimaginable new places.” – 4/5 ALLMUSIC
“hybridization of shoezage and other ’90s influences (trip hop, electronica, nu metal)” – BROOKLYN VEGAN
“It’s one of music’s great paradoxes: No Joy inevitably leads to joy… hyper-catchy, spaced-out electronic pop” – STEREOGUM
“It’s an expansive, often shape-shifting blend of shoegazerish psych-rock with buoyant electro-pop, atmospheric dream-pop and blistering hard-rock, combining fuzzy, effects-laden guitars and driving, often propulsive rhythms with ethereal vocals and soaring song hooks.” – KEXP
“Montreal’s No Joy refuse to stick to the shallow end of shoegaze revivalism on their fourth album. Death metal, 90s house-pop, and darkwave are just some of the genres in Jasamine White-Gluz’s palette, and she knows how to make them match.” – FADER
“With Motherhood, No Joy has given birth to something entirely new.” – BANDCAMP DAILY
“an eclectic record that shows White-Gluz at her most exploratory, twisting No Joy’s sound into new, compelling shapes.” – 8/10 EXCLAIM!
BIO (2020) : MOTHERHOOD
HDD090 · RELEASE DATE: May 19, 2021
Can My Daughter See Me From Heaven
Produced by Jasamine White-Gluz & Tara McLeod
Mixed by Jorge Elbrecht
Mastered by Heba Kadry
All songs written by No Joy except “Teenager” written by Deftones (Stephen Carpenter, Chi Cheng, Abe Cunningham, Frank Delgado, Chino Moreno).
Jasamine White-Gluz : vocals, keys
Tara McLeod : acoustic and electric guitar, lapsteel
Ouri Riou : cello
Nailah Hunter: harp
Brandi Sidoryk : opera, french horn, backing vocals
Sarah Thawer : drums
HDD084 · RELEASE DATE: August 21, 2020
Written by Jasamine White-Gluz & Jorge Elbrecht
Produced by Jorge Elbrecht & Jasamine White-Gluz
Mixed by Jorge Elbrecht
Mastered by Heba Kadry
Assistant Engineering by Madeleine Campbell & Chris Walla
Additional Mixing and Editing by Tyler Fitzmaurice
Guitar, Vocals, Piano, Synths and Additional Instruments by Jasamine White-Gluz
Guitar, Bass, Vocals and Additional Instruments by Jorge Elbrecht
Guitar and Banjo by Tara McLeod
Drums by Jamie Thompson
Additional Vocals on “Dream Rats” by Alissa White-Gluz
Additional Percussion, Synths and Wind Instruments by Jeremy Dabrowski
Art Direction by Jodi Heartz
Photography by Mathieu Fortin
Recorded in LA and Montreal, throughout 2O18.
Under exclusive license to Hand Drawn Dracula Records in Canada.