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No Joy’s relentless sonic permutations are evidence of frontperson and principal songwriter Jasamine White-Gluz’s insatiable desire to grow. The Montréal-based project began a decade ago as e-mail-traded riffs; subsequent albums showcased a penchant for delay-saturated jangle, industrial distortion, and sludgey drones over disco beats. White-Gluz, feeling too reliant on her primary instrument, ditched the guitars and detoured to modular electronica for a 2018 EP composed with <a href="spotify:artist:4lBmxg4Z1e9NTDD05a2mhI" data-name="Sonic Boom">Sonic Boom</a> (<a href="spotify:artist:1ZOlVrZ2MtNSY9LcFYklDB" data-name="Spacemen 3">Spacemen 3</a> &#39;s Pete Kember).

For No Joy’s first full length in five years, White-Gluz took what she learned from synthesis, reincorporated guitars, and produced an album that is not a departure from No Joy’s early shoegaze , but a stylistically omnivorous expansion that ekes into trip hop, trance and nu-metal . Motherhood is the culmination of years composing outside of her comfort zone, and a return to DIY recording with a leveled-up expertise in production. Highlights include &#39;Dream Rats&#39;, which features vocals from <a href="spotify:artist:0t9i2yNpYr4QGde2gz8YVg" data-name="Alissa White-Gluz">Alissa White-Gluz</a> of <a href="spotify:artist:0DCw6lHkzh9t7f8Hb4Z0Sx" data-name="Arch Enemy">Arch Enemy</a>.

Bio by Sadie Dupuis

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