Posts Tagged ‘Motherhood’

NO JOY – ” Kidder (From Heaven) “

Posted: April 16, 2021 in CLASSIC ALBUMS, MUSIC
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“No Joy has revisited and reinvented some of her favourite tracks from her 2020 album Motherhood for the new EP Can My Daughter See Me From Heaven? It sees principal songwriter Jasamine White-Gluz mining and exploring fresh avenues, bringing you an orchestral interpretation of choice tracks. Once again pulling sonically from every corner she’s mastered before — including nu metal, trip hop, and shoegaze — the five-song EP shows White-Gluz settling into a strange and confident harmony.

Highlighting the urgency of Motherhood while continuing to find formidable shapes of reinvention, the EP defies expectation and genre, cementing No Joy as something rare: A band without a category.”

“Can My Daughter See Me From Heaven?” the new album feat. orchestral reimaginings of your fave songs from Motherhood (and one Deftones cover!) First single “Kidder (from Heaven)” is out now, video directed by 7 year old Sloan. Recorded entirely in remote, these songs feature harp by Nailah Hunter, Cello by Ouri, French Horn/Opera and Backing Vocals by Brandi Sidoryk, drums by Sarah Thawer and tons of guitars by none other than Tara McLeod.

Produced by moi & Tara, Mixed by Jorge Elbrecht and mastered by Heba Kadry.Available on Digital, Blue Glitter Cassette, and Limited ‘Mood Ring Coffin’ Cassette – these are limited to just 100 hand-numbered copies that I’m hand painting my gddamn self!!!This was a challenging, experimental journey that sounds like nothing I’ve ever done before and I’m so proud of it.

Jasamine White-Gluz (vocals, producer) Tara Mcleod (co-producer/guitar) Ouri (cello) ​ Nailah Hunter (harp) Sarah Thawson (drums) Brandi Sidoryk (french horn, opera and backup vocals)

“Kidder – From Heaven” by No Joy off the EP ‘Can My Daughter See Me From Heaven’ out 5/19/2021 on Joyful Noise Recordings worldwide, out on Hand Drawn Dracula in Canada.

NO JOY – ” Four “

Posted: December 13, 2020 in CLASSIC ALBUMS, MUSIC
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A standout example of Motherhood’s multiplicity is track four, “Four” (natch), which Jasamine White-Gluz called “perhaps my favourite No Joy song ever written.” Hypnotic electronic guitar notes buzz and bend, slowly multiplying into a dull roar of feedback punctuated only by piano and handclaps, like 90 seconds of a high-tension wire being pulled tight to the point of snapping—and just when you think it’s about to break, all that pressure just evaporates, with a serene trip-hop beat bubbling up in its place. Of course, it’s not long before that cathartic groove transforms, in turn, into a hard-nosed, post-punk instrumental, its caustic guitars swelling and receding like a pair of black lungs clinging to life.

“Four” by No Joy off the album ‘Motherhood’ out on Joyful Noise Recordings (world) & Handdrawn Dracula in Canada.

NO JOY – ” Motherhood “

Posted: August 11, 2020 in CLASSIC ALBUMS, MUSIC
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Montreal’s No Joy release new album “Motherhood” next week via Joyful Noise / Hand Drawn Dracula, and here’s a track that features frontwoman Jasamine White-Gluz’s sister, Alissa, who plays in deathcore supergroup Arch Enemy. “I’ve never collaborated musically with my sister before,” says Jasamine. “When we were kids we would sing and play music together but as we’ve both become adults and touring musicians we’ve never had a chance to work together. This is the heaviest song on this record so it felt fitting to have her on there. There is something special about her being on this album, specifically because it’s an exploration of family and motherhood.” It’s definitely heavy, but also has space for No Joy’s ethereal side, too.

“Four,” which No Joy frontperson and principal songwriter Jasamine White-Gluz called in a statement “perhaps my favourite No Joy song ever written,” has a colourful sonic palette, starting with a buildup of shoegaze fuzz that melts into a spell of trip-hop instrumentals before jolting into a thrash metal closer. No Joy shared a music video for the new single, following visual artist Ashley Diabo at her home. The aim of the video, White-Gluz said, is “to appreciate Ashley at home, hoping to inspire all to embrace the love and inspiration of their home the way Ashley reminds us every day.”

Jasamine White-Gluz is back with No Joy’s first album in five years. The Canadian outfit arrived in 2010 with their debut Ghost Blonde, and have been releasing feedback-cloaked shoegaze with mystifying beats ever since. Their new LP Motherhood is the most ambitious thing they’ve ever done, but White-Gluz’s ear for immersive soundscapes remains. Here, No Joy expand into the realms of pummeling metal (“Dream Rats”), groovy trip-hop (“Four”), pulsing electro-pop (“Ageless”) and skying dance-rock (“Birthmark”), and it’s a heady, wispy ride. Sometimes throwing in everything but the kitchen sink works out.

“Four” by No Joy off the album ‘Motherhood’ out on Joyful Noise Recordings (world) & Hand drawn Dracula in Canada.

NO JOY – ” Birthmark “

Posted: May 9, 2020 in CLASSIC ALBUMS, MUSIC
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No Joy, will return with its first full-length album in five years. “Motherhood”, will be released on August 21st, via Joyful Noise/Hand Drawn Dracula. The lead single “Birthmark,” is now out  along with a video directed by Jordan “Dr Cool” Minkoff and stars Diavion Nicolas, a dancer Jasamine found on Instagram, and a goat named Piquette.

Jasamine on the making of the video:

“We made this video while in quarantine. I filmed myself at home and asked my very talented friend Jordan to help build a world around the footage. Diavion had been dancing to No Joy on his instagram and I was a huge fan so reached out and asked him to choreograph a routine for this song. While in the studio, I wanted to keep the energy fun and throw any ideas at the wall. We ended up watching the video for Puff Puff Give by Hannah’s Field, pulled out some bongos, a broken clarinet, drank 12 bottles of sake and did group chants.”

Motherhood was made with Jorge Elbrecht (Ariel Pink, Sky Ferreira, Japanese Breakfast), he returns in his role as co-producer and multi-instrumentalist. The band’s touring sound engineer Madeleine Campbell, who authors the Women In Sound zine, came on as engineer alongside Chris Walla (Death Cab for Cutie). Drummer Jamie Thompson (Islands, Esmerine) translated rhythmic ideas into hard-hitting performance, and brought in drum machines of his own. Frenetic shredder Tara McLeod (Kittie) makes her No Joy recorded debut, contributing not only guitars but banjos. Somehow plastic clarinet, scrap metal, skits, bongos and an EMS Putney made the mix. Songs went from laptop demos to labyrinthine recordings, tracked primarily at fellow Montrealers Braids’ Studio Toute Garnie. White-Gluz laid down the vocals at home, which allowed for experimentation with ethereal harmonies and shrouded ad libs.

White-Gluz hadn’t read Sheila Heti’s Motherhood when she wrote and titled this record, but when she did, the narrative parallels between the two projects were “like looking into a mirror.” “Will I regret not opening my insides out?” she sings on “Primal Curse,” during which she reads an optimistic letter her mom wrote as a teenager to her future kids. “Time is critical, and you have to make decisions that are extremely time sensitive and your body doesn’t care,” she explains. “It’s a lot of seeing myself through my mother’s experiences, and the physicalness of a body getting older.” The album also investigates the implications of her parents’ aging on her role as their child, as on the DJ-scratching wah groover “Four.”

Heti’s book’s central conceit is an open-ended pondering of whether dedication to writing is more significant than the desire to have children. No Joy doesn’t definitively answer this existential quagmire, either–how could anyone? Instead, Motherhood is a beautifully dense exploration that proves how thoughtful, thorough music can translate into art that is rich, vast and alive.

“Birthmark” from No Joy off the album ‘Motherhood’ out on Joyful Noise Recordings & out on Hand Drawn Dracula Records in Canada.