For most listeners, No Joy are a standout from the shoegaze revival, that wall of noise lead by its two female band members Jasamine White-Gluz and Laura Lloyd and their long headbanging blonde locks. In a 2011 Blackbook piece on the band’s detached yet visceral live show, the writer coyly commented “they are playing with their backs to the audience…shy girls.”
For years, principal songwriter and lead vocalist Jasamine White-Gluz was that shy girl. It translated onto their albums (her voice was never too high in the mixes, constantly obscured by layers of guitar) as well as their live shows (instead of standing center stage in the shows, she opted to stay hidden in the corner of the stage). With the latest effort CREEP EP (2017), White-Gluz is starting to shed those insecurities and bring a revived spirit to who we know as No Joy.
As the principal writer of their past catalog, White-Gluz steers the material on CREEP in new directions, drawing on varied influences ranging from Industrial to New Age. With co-writer and producer Jorge Elbrecht, the pair create a soundscape that is both familiar and fresh. Tracked in Montreal at Hotel 2 Tango and in White-Gluz’s Little Italy apartment, the sound is huge. Dynamic juxtapositions of dark and light, feminine and virile are cemented together with their signature earworm hooks. No Joy are challenging themselves by distancing from the traditional rock band formula, creating a new live show to accompany the release. By taking control of their new direction, it’s the beginning of a new era for No Joy.
