Categories
Tunes

Best tunes of 2020: #8 No Joy “Birthmark”

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It’s been just shy of four months since we last visited this series counting down my favourite tunes of 2020.

I don’t know that I’ve stayed away on purpose. I do have a few series on the go and the usual end of year festivities often take up lots of blog space. However, I admit that I’ve been finding 2020 an odd year to look back upon of late. Sure there was lots of great music being produced with all these musicians locked up with nothing else to do, but the rest of us were also locked up. It often feels like a lost year* and I’m sure I’m not alone with this feeling.

Indeed, every time I sat down to write this post, I found myself getting distracted by something else. Most recently, I went down the rabbit hole of looking at the timelines and the numbers of the COVID pandemic and it brought it all back. It’s perhaps easy to forget how bad things looked early on and all the fear and uncertainty. The numbers of the rates of infection, how quickly things spread, and how many deaths there were early on. Faced with the stats, it made me think how bad things could have gotten if it weren’t for the measures taken and for the mass roll outs of the vaccines worldwide. I remembered the empty grocery shelves, the low gas prices, the almost daily trips to Costco in search of toilet paper and disinfectant wipes. The stories of resilience, human nature winning out, images of deserted streets of some of the world’s biggest cities, and that video of Italian seniors singing together from the windows of each of their homes.

That last reminded me about all the stories coming out of the seniors facilities during the lockdowns. Hearing how the virus ran rampant through each of them, despite the valiant efforts of staff. How it hit certain residents hard, given their age and in some cases, already poor health, how the mortality rate was even higher. How the isolation made things even harder for loved ones to check in on family members in these homes. The word was that some were terribly frightened, remembering the previous pandemic of their youth, and some were not really understanding what was going on and feeling abandoned. And though I’m sure things are quite different and much improved in these facilities nowadays, I met and spoke to a few seniors when I was in the hospital last year and heard some stories and got a different perspective. Imagine, preferring to stay in the hospital than to return to your ‘home’.

Which brings me back to the real subject of today’s post. “Birthmark”, the number eight song on this list of my favourite tunes from 2020, was actually inspired by Jasamine White-Gluz, frontwoman and driving force behind Montreal’s No Joy, visiting a relative in senior living facility a few years before the pandemic. It’s not a protest song or a call to arms for seniors rights but it does shine a light on their humanity.

“Oh I braid your veins
Our old limbs are hard to break
No Matter when
Every lung has a line to trace”

As I wrote when No Joy’s fourth long player hit number four on my Best albums list at the end of 2020, the “opening track on the album and very first peek at the project’s first new album in five years hits like a ton of bricks. It’s the sound of 90s shoegaze gone 90s alternative dance. Think Chapterhouse’s second album “Blood music” or anything by Curve. Like the rest of the album, Jasamine White-Gluz had a lot of fun with this one in the studio, finding use for a set of bongos and apparently, a broken clarinet. The bongos are definitely front and centre and form the basis of a dance floor beckoning drum rhythm but I challenge you to point out the clarinet in the wall of sound she’s created in the loops and loops and loops.”

*There’s been a couple of those for me in the last five…

For the rest of the Best tunes of 2020 list, click here.

Categories
Albums

Best albums of 2025: #1 No Joy “Bugland”

Well, here we are. We’ve finally made it to the last full day and hence, the last post of the year and exactly as planned, we’re going to be talking today about my favourite album of 2025: No Joy’s “Bugland”.

Originally formed as a duo in Montreal, Canada in 2009 by Jasamine White-Gluz and Laura Lloyd, No Joy has gone through a number of personnel compositions over the years but is these days, for all intents and purposes, the musical vehicle for White-Gluz. My first exposure to No Joy’s music was sampling their 2013 sophomore release “Wait to pleasure”. As I hinted back at the beginning of December*, I was alerted to this record care of a post on a Facebook group page that I had forgotten joining on all things Shoegaze. This happy introduction began a long love affair with their music. I immediately went back to pick up the debut “Ghost blonde”, ate that up, and since then, have stopped to take notice whenever a new EP or LP was announced. It was the term shoegaze that first drew me to No Joy but White-Gluz keeps adding to the arsenal and experimenting with sounds, colouring far outside the lines and stretching the label to its limits.

Indeed, when I wrote about No Joy’s fourth album “Motherhood” for my Best albums of 2020 list, I suggested that Wikipedia might soon need to erase all reference to shoegaze from its No Joy page. And though I think the progression has continued ever onward on “Bugland”, I’ve changed my thinking on that sentiment, especially after finally catching No Joy live back in October and seeing White-Gluz and company perform these songs in the flesh. This fifth record doesn’t always live in that space where guitars are layered, screeching, fuzzed out, and dreamy controlled chaos, but it’s still there at the heart. And there’s so much more. There’s some metal, some dance, experimental noise, prog, and synth pop. White-Gluz makes music for herself, that’s obvious, bucking trends and taking names, and she’s most definitely having fun on this album.

“Bugland” is big and magical. It begs to have all the knobs cranked to eleven. It calls you dance along with it, though its ups and downs, to close your eyes and sing/scream. It is definitely weekend music. Eight songs for living free. Each one worth your attention but as always, I’ve picked three from the group for you to sample.


“Garbage dream house”: “Erased the laughs all off from your face. And I’m wondering how.” The opening track feels like a collage. It starts and ends with mutated dial tone sounds, bringing to mind the days of dial up internet, when the world seemed limitless, if you could only have the patience for it. Then, there’s the heavy handed drum beat and the muscular guitar skipping the light fantastic around it. White-Gluz’s vocals sound at times a part of the ether, an echo of a dream, and at others fed through the machine, syllables and vowel sounds becoming key strokes. By the end, everything is thrown through the blender, and the song sounds like many different songs from one moment to the next, roaring and soaring and challenging your ear drums.

“Bits”: “I walk around the back and you’re all around me. You’re all around.” Track three is a dichotomy, setting angst and discordance against pastoral freedom. It is angry and noisy and angular guitars. These build and get more aggressive but when they take a break, to gear up for more, you notice that the dreamy synths were there all along. The vocals float around the proceedings, fading in and out of coherency. When you do catch a word or an idea, you can’t help but wonder whether you are missing something important with all those other words and ideas flitting about. You aren’t given long to ponder though. The vocals just continue to play hide and seek in the mix, even the spoken word bit at the end feels like a conversation walked in on halfway through, but before you can ever ask for a repeat, the song is over and you press play again.

“Bugland”: “You’re in bugland. Leave you suntanned. You look better with eyes eyes eyes.” The title track is only two and a half minutes long but it sounds infinitely bigger and more pronounced. The beats are frenetic, almost rave material, and they don’t quit, though they do slip behind the screen of heavy riffing guitars at points and the washes of synths at others. The words almost unintelligible, voice in the high registers, calling to mind early Cocteau Twins, but the energy and tech interruptions scream Curve. Indeed, White-Gluz is leaving us breathless, really selling us on this Bugland. I would never think that I might enjoy a place that would be run by the creepy crawlers but she almost has me convinced.


*In a story I’ve told a couple of times that I won’t repeat here.

So that’s it, my favourites for 2025. In case you missed them, here are the previous albums in this list:

10. Snocaps “Snocaps”
9. Nation Of Language “Dance called memory”
8. Robert Ascroft “Echo still remains”
7. Doves “Constellations for the lonely”
6. Miki Berenyi Trio “Tripla”
5. Suede “Antidepressants”
4. Wet Leg “Moisturizer”
3. Pulp “More”
2. The Limiñanas “Faded”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Categories
Live music galleries

Live music galleries: No Joy [2025]

No Joy at The 27 Club, October 1, 2025

Artist: No Joy
When: October 1st, 2025
Where: The 27 Club, Ottawa
Context: No Joy is an act that I’ve been waiting to see for well over a decade. Indeed, I had planned to see them in 2015 when they were touring in support of their third album, “More faithful”, and they were hitting a now-defunct local spot that was even more intimate than Wednesday night’s venue*. I purchased the ticket for this latest show back in August, right after I realized that the Oasis show I was supposed to see was not in the cards, that disappointment making me even more determined to not miss No Joy a second time. When I first heard of them, they were a full band but nowadays, the project is mostly the work of Jasamine White-Gluz. For the tour, she has brought Tara McLeod and Liam O’Neill along to bring even more noise. And man, was it loud**. It was a sound that was palpable and filled with texture. Jasamine and Tara shredding away (and I mean SHREDDING) at their guitars and Liam hammering away at the drums. It was a relatively short set and ended early, which suited these aging bones just fine, but it was a fine selection of tunes and included many of my favourites from “Wait to pleasure”, “Motherhood”, and the new one, “Bugland”. I went home buzzing and quite satisfied.
Point of reference song: Bugland

Jasamine White-Gluz (aka No Joy)
Tara McLeod helping out on guitars
Liam O’Neill taking care of the beats
Jasamine playing for effect
Liam doing his thing
Tara shredding
Jasamine taking a water break

*Why I missed that show is too embarrassing to recount.

**I was very glad for my earplugs.