No Joy

Booking Agent : Luca Ciscognetti & Luca Ciscognetti

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 four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category.

Over the years, No Joy has conjured an effortless mix of sound, achieving new heights in the more traditional confines of the shoegaze genre, while veering into heavy metal and even EDM. On the band’s most recent & acclaimed LP Motherhood (2020), we saw No Joy at a fearless crossroads, pulling from every corner the band had mastered before while rocketing itself into another level; a staggering, 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.

It’s no surprise, then, that White-Gluz would find new things to mine from her opus of an album in her most recent EP Can My Daughter See Me From Heaven (Joyful Noise / Hand Drawn Dracula) mixed by Jorge Elbrecht and mastered Heba Kadry; co-produced by White-Gluz and Tara McLeod, who also lends her guitarwork.

Recorded during the COVID-19 pandemic, the EP remakes four Motherhood tracks with orchestral instruments, including the popular, baby giggle-laden single “Four.” While the new takes veer into slower, dreamier territory, calling it “softer” would be a disservice. A collaboration with acclaimed musicians – percussion from Sarah Thawson, a cutting cello from Ouri, harp 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 hazy, ethereal vocals soar over the din. Aside from these reimaginings, there’s another delightful surprise: a dusky cover of Deftones’ immortal classic “Teenager” that rounds out the five song EP.

Following the two recent sister releases, No Joy was invited to perform at festivals like Levitation (with Boy Harsher & Drab Majesty), Desert Daze, and notably to acclaimed performing arts festival FME in Abitibi-Témiscamingue, where White-Gluz presented the full string arrangements live. No Joy also headlined in the US/Canada and supported artists like DIIV, Nothing, and Preoccupations. White-Gluz spent 2023 in the studio, and new music from No Joy is anticipated for 2024.

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Tourdates

No shows booked at the moment.