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Montreals No Joysince 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluzhas rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3s Pete Kember. In 2020, her first full-length as a soloist and No Joys first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity?

Now, White-Gluzs ever-expansive evolution has brought forth 'Can My Daughter See Me From Heaven', an EP reanimation of five songs fromMotherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirthan opportunity to grow those tracks, similar to the transformation they wouldve undergone live, on stage. Songs take on a new life when Im on tour. These songs didnt get that chance. I still had more to say with them, White-Gluz explains. I probably never wouldve been like lets get a bunch of classically trained players together, if it wasnt for covid-19 [canceling tours. This EP] was an opportunity to do something that wasnt obvious. Its a bedroom recording, but it doesnt sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid. Where many musicians used last years disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: It was more, Lets try everything! Give me something to look at!

And there is much to look at. The songs of 'Can My Daughter See Me From Heaven' are biggerbut theyre brighter, too, an ascension from the physical thrash of the terrestrialMotherhood. Ugly, angelic arrangements are the reason, and No Joys collaborators old and new are the cause: co-producer and guitaristTara McLeod (Kittie) from Toronto returned, as did Jorge Elbrecht (Sky Ferreira, Japanese Breakfast, Wild Nothing) and Heba Kadry (Bjrk, Slowdive, Ryuichi Sakamoto) for mixing and mastering, respectively.New additions include Torontos Sarah Tawer, a virtuosic drummer who can cover any genre, Nailah Hunter, experimental harpist from Los Angeles, Montreals Ouri, a performance artist and cellist, and Calgarys Brandi Sidoryk, a master of the French horn and a classically trained opera singer who performed backup to White-Gluza No Joy first, but not the only one. I dont even play guitar on this record, White-Gluz adds.Thats never happened before.

Opener Kidder, the last track from 'Motherhood', loses its distortion on the EP, opting instead for divinity: heavy harp, dreamy lap steel guitars. I never wanted to lean into the fairy princess thing, White-Gluz jokes, But we let this one go where it needed to go.Fish has become the sound of a soul leaving its bodydissonant cello behaving like menacing feedback, Brandis operatic vocal delivery looped and sampled in the distancea far cry from The Downward Spiral Nine Inch Nails-inspired guitar of the original. Four ditches the DJ booth for air, a Disney Springtime walk, as White-Gluz describes it. What follows is Teenager, a gorgeous cover of the deep Deftones WhitePony' cut, complete with raw studios sounds (pedals going on and off, White-Gluzs labored breathing between takes) and an eight-minute, extended version of Dream Rats, now without White-Gluz sister Alissa of deathcore band Arch Enemy, ironically made heavier and sludgier than before.

A close listen to all five songs will reveal the absurdist influences behind the EP: Disneys1986 DTV Valentine special, which set tracks like Eurythmics There Must Be An Angel to classic animation, live reimaginations of 90s alt-favorites like Bjork performingIsobel with a live orchestra, and inventive instrument expressions of the same era, like steel drums and acoustic guitars on Janes Addictions Jane Says. Some of those late 90s electronica trip-hop acts involved strings in their live performance. I was interested in that, and with some of them, I was like, Lets go full Little Mermaid, White-Gluz says.

It is unusual, then, that a band called No Joy found inspiration for their latest release in the joys of childhood, on an EP that tackles maternity and bodily limitation, but since when has No Joy been interested in predictability? 'Can My Daughter See Me From Heaven' is an eccentric dreama visionary concept, delivered with the beauty of an orchestra, punctuated with post-metal. It is alive.

Montreals No Joysince 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluzhas rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3s Pete Kember. In 2020, her first full-length as a soloist and No Joys first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity?

Now, White-Gluzs ever-expansive evolution has brought forth 'Can My Daughter See Me From Heaven', an EP reanimation of five songs fromMotherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirthan opportunity to grow those tracks, similar to the transformation they wouldve undergone live, on stage. Songs take on a new life when Im on tour. These songs didnt get that chance. I still had more to say with them, White-Gluz explains. I probably never wouldve been like lets get a bunch of classically trained players together, if it wasnt for covid-19 [canceling tours. This EP] was an opportunity to do something that wasnt obvious. Its a bedroom recording, but it doesnt sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid. Where many musicians used last years disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: It was more, Lets try everything! Give me something to look at!

And there is much to look at. The songs of 'Can My Daughter See Me From Heaven' are biggerbut theyre brighter, too, an ascension from the physical thrash of the terrestrialMotherhood. Ugly, angelic arrangements are the reason, and No Joys collaborators old and new are the cause: co-producer and guitaristTara McLeod (Kittie) from Toronto returned, as did Jorge Elbrecht (Sky Ferreira, Japanese Breakfast, Wild Nothing) and Heba Kadry (Bjrk, Slowdive, Ryuichi Sakamoto) for mixing and mastering, respectively.New additions include Torontos Sarah Tawer, a virtuosic drummer who can cover any genre, Nailah Hunter, experimental harpist from Los Angeles, Montreals Ouri, a performance artist and cellist, and Calgarys Brandi Sidoryk, a master of the French horn and a classically trained opera singer who performed backup to White-Gluza No Joy first, but not the only one. I dont even play guitar on this record, White-Gluz adds.Thats never happened before.

Opener Kidder, the last track from 'Motherhood', loses its distortion on the EP, opting instead for divinity: heavy harp, dreamy lap steel guitars. I never wanted to lean into the fairy princess thing, White-Gluz jokes, But we let this one go where it needed to go.Fish has become the sound of a soul leaving its bodydissonant cello behaving like menacing feedback, Brandis operatic vocal delivery looped and sampled in the distancea far cry from The Downward Spiral Nine Inch Nails-inspired guitar of the original. Four ditches the DJ booth for air, a Disney Springtime walk, as White-Gluz describes it. What follows is Teenager, a gorgeous cover of the deep Deftones WhitePony' cut, complete with raw studios sounds (pedals going on and off, White-Gluzs labored breathing between takes) and an eight-minute, extended version of Dream Rats, now without White-Gluz sister Alissa of deathcore band Arch Enemy, ironically made heavier and sludgier than before.

A close listen to all five songs will reveal the absurdist influences behind the EP: Disneys1986 DTV Valentine special, which set tracks like Eurythmics There Must Be An Angel to classic animation, live reimaginations of 90s alt-favorites like Bjork performingIsobel with a live orchestra, and inventive instrument expressions of the same era, like steel drums and acoustic guitars on Janes Addictions Jane Says. Some of those late 90s electronica trip-hop acts involved strings in their live performance. I was interested in that, and with some of them, I was like, Lets go full Little Mermaid, White-Gluz says.

It is unusual, then, that a band called No Joy found inspiration for their latest release in the joys of childhood, on an EP that tackles maternity and bodily limitation, but since when has No Joy been interested in predictability? 'Can My Daughter See Me From Heaven' is an eccentric dreama visionary concept, delivered with the beauty of an orchestra, punctuated with post-metal. It is alive.

753936908369

Details

Format: Cassette
Label: Joyful Noise
Rel. Date: 10/29/2021
UPC: 753936908369

Can My Daughter See Me From Heaven [Cassette]
Artist: No Joy
Format: Cassette
New: Available $10.98
Wish

Formats and Editions

DISC: 1

1. Kidder - From Heaven
2. Fish - From Heaven
3. Four - From Heaven
4. Teenager - From Heaven (Deftones cover)
5. Dream Rats - From Heaven

More Info:

Montreals No Joysince 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluzhas rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3s Pete Kember. In 2020, her first full-length as a soloist and No Joys first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity?

Now, White-Gluzs ever-expansive evolution has brought forth 'Can My Daughter See Me From Heaven', an EP reanimation of five songs fromMotherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirthan opportunity to grow those tracks, similar to the transformation they wouldve undergone live, on stage. Songs take on a new life when Im on tour. These songs didnt get that chance. I still had more to say with them, White-Gluz explains. I probably never wouldve been like lets get a bunch of classically trained players together, if it wasnt for covid-19 [canceling tours. This EP] was an opportunity to do something that wasnt obvious. Its a bedroom recording, but it doesnt sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid. Where many musicians used last years disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: It was more, Lets try everything! Give me something to look at!

And there is much to look at. The songs of 'Can My Daughter See Me From Heaven' are biggerbut theyre brighter, too, an ascension from the physical thrash of the terrestrialMotherhood. Ugly, angelic arrangements are the reason, and No Joys collaborators old and new are the cause: co-producer and guitaristTara McLeod (Kittie) from Toronto returned, as did Jorge Elbrecht (Sky Ferreira, Japanese Breakfast, Wild Nothing) and Heba Kadry (Bjrk, Slowdive, Ryuichi Sakamoto) for mixing and mastering, respectively.New additions include Torontos Sarah Tawer, a virtuosic drummer who can cover any genre, Nailah Hunter, experimental harpist from Los Angeles, Montreals Ouri, a performance artist and cellist, and Calgarys Brandi Sidoryk, a master of the French horn and a classically trained opera singer who performed backup to White-Gluza No Joy first, but not the only one. I dont even play guitar on this record, White-Gluz adds.Thats never happened before.

Opener Kidder, the last track from 'Motherhood', loses its distortion on the EP, opting instead for divinity: heavy harp, dreamy lap steel guitars. I never wanted to lean into the fairy princess thing, White-Gluz jokes, But we let this one go where it needed to go.Fish has become the sound of a soul leaving its bodydissonant cello behaving like menacing feedback, Brandis operatic vocal delivery looped and sampled in the distancea far cry from The Downward Spiral Nine Inch Nails-inspired guitar of the original. Four ditches the DJ booth for air, a Disney Springtime walk, as White-Gluz describes it. What follows is Teenager, a gorgeous cover of the deep Deftones WhitePony' cut, complete with raw studios sounds (pedals going on and off, White-Gluzs labored breathing between takes) and an eight-minute, extended version of Dream Rats, now without White-Gluz sister Alissa of deathcore band Arch Enemy, ironically made heavier and sludgier than before.

A close listen to all five songs will reveal the absurdist influences behind the EP: Disneys1986 DTV Valentine special, which set tracks like Eurythmics There Must Be An Angel to classic animation, live reimaginations of 90s alt-favorites like Bjork performingIsobel with a live orchestra, and inventive instrument expressions of the same era, like steel drums and acoustic guitars on Janes Addictions Jane Says. Some of those late 90s electronica trip-hop acts involved strings in their live performance. I was interested in that, and with some of them, I was like, Lets go full Little Mermaid, White-Gluz says.

It is unusual, then, that a band called No Joy found inspiration for their latest release in the joys of childhood, on an EP that tackles maternity and bodily limitation, but since when has No Joy been interested in predictability? 'Can My Daughter See Me From Heaven' is an eccentric dreama visionary concept, delivered with the beauty of an orchestra, punctuated with post-metal. It is alive.

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