The JangleBox

Indie, Noise, Shoegaze… Music

NO JOY/SONIC BOOM: No Joy/Sonic Boom (Joyful Noise Recordings, 2017)

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NO JOY han evolucionado su sonido sin dudas, desde el Noise-Gaze seminal de su primer trabajo hasta este Ep compartido con el gurú de la neopsicodelia SONIC BOOM han recorrido un camino jalonado por una cierta experimentación no exenta de riesgos. Este disco a medias he de reconocer que me resulta aburrido por cuanto no me va mucho la electrónica, y aquí hay mucha. Pero no dejo de reconocer que el experimento es arriesgado y valiente.

“After the shoegaze band No Joy got off the road touring for their 2015 album, More Faithful, bandleader Jasamine White-Gluz wanted to try something different. She was acquainted with Sonic Boom (aka Pete Kember of Spacemen 3 and Spectrum fame, not to mention his long career as a sound structurist and producer), and the pair began exchanging messages — and then ideas — for songs through the wires. The four-song EP No Joy/Sonic Boom that came from their collaboration is a feast of vintage synths, cooing vocals, warped beats, and barely any guitar. The songs White-Gluz sent to Kember were meant to be played by a full band, but he twisted them into electronic weirdness that ebbs and flows, thumps and wobbles, hums and shimmers in turn. Leadoff track “Obsession” is the fullest realization of their pairing; White-Gluz‘s sampled vocals float over thumping beats and super-fat synth bass, while the sequenced synths burble and beep in nicely melodic fashion. It rolls along like this, creating a mood not unlike euphoria in the listener, then suddenly shifts gears into a subaquatic drone for a bit as the song peacefully doubles back on itself. A few minutes of that and it bursts back into life, throwing beams of sunshine out of the speakers and into the air, before winding to a close after 11 minutes of brilliance. It’s quite an achievement, possibly the most uplifting thing Kember has been associated with. The other three tracks are closer to what one might expect from the duo. “Slorb” is a slow-motion dream of a song, with White-Gluz‘s heavenly vocals the focal point and some jagged synth lines cutting through the slumber; “Triangle Probably” pairs thundering, almost industrial, drums with droning synths; and “Teenage Panic” sounds like a No Joy song turned inside out, then looped and chopped randomly before being reassembled. It also features some of the only recognizable guitar playing on the EP. No Joy/Sonic Boom is a delightful collaboration where both parties were unafraid to try new things, and this spirit of exploration led them to make something truly exciting and rewarding” (All Music)

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24 mayo, 2018 Posted by | No Joy, Sonic Boom | Deja un comentario

Nueva Era – NO JOY: Creep (Ep, Mexican Summer, 2017)

Dejando atrás y algo de lado esa tendencia visceral y algo autodestructiva de sus últimas producciones, el dúo canadiense NO JOY tiran hacia sonidos algo más cercanos al Shoegaze como lo conocemos tradicionalmente, e incluso con influencias del Post-Punk. Un Ep que les puede abrir una nueva era en su música.

“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”

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18 abril, 2017 Posted by | No Joy | Deja un comentario

No Joy: Drool sucker (7″, 2016)

Las canadienses No Joy publican este verano Drool Sucker, un 7″ que las coloca en el mismo lugar en el que suelen moverse: ese Pop ruidoso y algo experimental en el que tan a gusto se encuentran.


23 julio, 2016 Posted by | No Joy | Deja un comentario

No Joy: More faithful (Mexican Summer, 2015)

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“On their third full-length, More Faithful, Montreal shoegazers No Joy make it clear that they’re not afraid to shift their sights towards the sky once in awhile. Although their songs still possess the signature qualities of the genre—fuzzy guitars and repetitive, mantra-like refrains—there are hints that the band is trying to expand within it, breaking through the sometimes-monotonous din with moments of light. It’s a hard album to pin down, at moments bright and tender, at times as dark and scuzzy, and the contrast helps mitigate the sameness that sometimes plagued their previous efforts.
Beginning with their second LP Wait to Pleasure and continuing through the 2013 EP Pastel and Pass Out, you could hear the band seeking ways to deepen their sound. More Faithfulwas recorded with Ariel Pink producer Jorge Elbrecht in Brooklyn and Costa Rica, and there’s a little bit of the city and moments of the sea present on nearly every track. “Moon in My Mouth”, a psyched-out, dreamy track with a swaying, beach-punk riff, showcases singer Jazamine White-Gluz’s bright vocals and lulls the listener. It’s punk rock taken poolside, city mice taking a break from the harsh squall. The sound is both massive and soft around its edges, layering elements of surf-rock and psychedelia into the harsh din of Laura Lloyd’s guitars.
Light and dark are constantly at play across the album’s surface, like shadows from moving clouds. Album opener “Remember Nothing” is a dissonant, clanging contrast to the mellow vibes of “Moon”, opening with a fast, hi-hat-reliant drum beat and a muddy riff that wouldn’t sound out of place on a Sonic Youth record. Then the vocals enter, and leaven the murk with a hint of tenderness. “Burial in Twos” starts out spacious and gorgeous, with a wide-open ringing riff and pinging synth hits, before some gristly electric guitars enter and grind their teeth.
There’s a feeling that nothing on the album is accidental. The squealing, careening “Chalk Snake”, which is so Jesus and Mary Chain-esque it veers into the realm of pastiche, ends by juxtaposing a high-pitched note of guitar squall with a piano line that almost sounds like Joni Mitchell. It’s these subversive little moments that help No Joy avoid the diminishing returns that often plagues shoegazers. And although they’re still obviously committed to noise, still praying at the fuzzy altar of My Bloody Valentine, they’re a band that’s still evolving, and letting a little bit of light in through the cracks has served them well” (Pitchfork)

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22 febrero, 2016 Posted by | No Joy | Deja un comentario

No Joy: Wait to pleasure (Mexican Summer, 2013)

Secret Pleasures

La explosión inicial que experimentamos con E, el primer corte de Wait to pleasure, el segundo álbum de No Joy es algo así como la apertura de una de esas flores a la primavera, un estallido de distorsión y de guitarrazos que nos van a llevar durante cinco minutos por la senda del mejor Noise-Pop que uno se pueda encontrar en estos tiempos.
No cabe duda de que el dúo formado por Jasamine White-Gluz y Laura Lloyd han decidido arriesgar desde sus primeros tiempos, y en cada uno de sus lanzamientos han ido apostando por uno u otro camino hacia un cierto grado de experimentación. Con Wait to pleasure, las canadienses tocan varios palos, desde el Noise hasta el Electro-Pop más guitarrero (Blue neck Riviera), sets más experimentales (Lizard kids, Ignored pets, Uhi Yuoi Yoi) y, por qué no, canciones que las acercan más a un universo Pop más reconocible: Prodigy, Hare Tarot lies, Slug nights, Lunar phobia
Acaban de publicar un nuevo Ep, que desconozco aún si estará compuesto por temas descartados de este Wait to pleasure, o formarán parte de ese que iba a ser su segundo disco, grabado, como el primero, con Sune Rose Wagner y que desecharon por ser “demasiado raro”.
Lo que nadie les puede echar en cara a las chicas es que no sean arriesgadas. Con este segundo trabajo, han querido y han sabido evolucionar desde una posición estética distinta a la del debut. Éso, en los tiempos que corren, ya es más que loable.


It’s all the more impressive that they’re able to do so while maintaining the raw elements ofGhost Blonde. While adept at diaphanous cooing, Jasamine White-Gluz and Laura Lloyd’s vocals take on far more of a lead role with piercing, major-key hooks. The guitars are still singed by redlining distortion, but within the context of Wait to Pleasure’s sweeter production, they tend to caramelize rather than corrode. And between “Lizard Kids” and “Ignored Pets”, they’ve established a stylistic template that distinguishes a No Joy song from those of their peers– combining the pummeling, barely contained pace of a punk rhythm section with shoegaze’s distended high end, rushing through a light net of harmonized vocals that are reverbed to the point of being mere phonetics.
It can be tough to make out the intentionally wordless lyrics from the expressive ones, so the incorporation of synthetic elements tends to bring out their humanity. “Lunar Phobia” follows a continuum of bands whose names served as adjectives for their own sound (Lush, Curve), beat-driven without crossing over to dance music, and tricked out with a wealth of intriguing effects and layers: bird call vocal samples placed against wafting harmonies, juddering kick drums swapping with backmasked snares, tremolo guitars and raw feedback. “Blue Neck Riviera” goes even further into rhythmic clangor, the blackened, deadpan vocals and clacking drum machines recasting Ladytron as lo-fi nightcrawlers before it revisits the Negaversealbum cover, taking off toward the rainbow horizon in its second half.
While improving on the sheer sound of Ghost Blonde on nearly every level, No Joy are still more suggestive than declarative. Allusive titles such as “Night Slug”, “Blue Neck Riviera”, and “Wrack Attack” come off as evidence of an inherent playfulness as well as a wide range of interests, even if No Joy’s lyrics are too deep in the mix to tell if they actually do refer in any way to the techno label, Florida’s Emerald Coast, or “Saved By the Bell”. A certain kind of impersonality might seem like a cost of doing business in this genre, but within the context ofWait to Pleasure, there’s compensation in hearing No Joy express themselves as a band rather than as people. If you like shoegaze, you’ll probably still like No Joy, but Wait to Pleasure’s triumph is making it far less of a requirement” (Pitchfork)

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8 noviembre, 2013 Posted by | No Joy | Deja un comentario

No Joy: Negaverse (Ep, 2012; Mexican Summer)

Negaverse es la continuación (más o menos lógica) del disco de debut de las canadienses No Joy: Ghost blonde (2010). Han pasado ya dos años desde entonces. El concepto de su música se ha vuelto algo más visceral. Han evolucionado desde su Noise-Pop hacia posiciones… digamos que algo más experimentales. Han abandonado cualquier vestigio de melodías en sus temas para derivar hacia un Fuzz-Pop quizás demasiado sombrío. Aunque nunca fueron la alegría de la huerta, en su debut afloraban algunos sentimientos más exaltados.
En Negaverse (2012), el dúo se empeña en explorar el lado más oscuro. Sus textos son casi ininteligibles, apenas afloran de la maraña de distorsión algunos versos esbozados entre algunos ritmos más revolucionados que de costumbre (Junior, Shame cave) o entre la calma flotante de Yang Sanpanku o Smiley face.
Disco pues de transición entre algo bueno y algo que probablemente continúe en la misma línea de bondades. Negaverse viaja quizás algo errático pero probablemente indaga en lo que el futuro sonido de No Joy nos pueda deparar.


“Negaverse marks an evolution from Ghost Blonde, though not in ways you’d necessarily expect. In concert, that album’s hazy-headed distort-pop was given a muscular makeover worthy of SST-era Dinosaur Jr. Negaverse, however, deemphasizes the band’s live presence by highlighting both the intimacy and intricacy of their songcraft; this is a record that feels demo-quality crude yet sonically dense and deliberate at the same time.
Opener “Junior” provides a logical leap-off from Ghost Blonde, its airy melody and wordless harmonies hitched to a double-time drum stomp that, thanks to the unyielding corrosiveness of Jasamine White-Gluz and Laura Lloyd’s guitars, still feels like it’s moving in slow motion. But even when working within Negaverse’s downsized dimensions, No Joy seem eager to reveal that there’s more to their music than a simple noise/pop dichotomy: “Shame Cave” is another trash-can-thwacking Mary Chained rave-up, but one where the drums drop out in its final minute, transforming the song’s reverberating guitar line and backing harmonies into a slow-dissolving swirl; “Smiley Face” takes a good half of its 3:35 runtime pulling back the slingshot before unleashing a space-bound robo-cow-punk rampage. And if Negaverse’s proudly washed-out sound still provides little clue as to what White-Gluz is going on about, the enchantingly whispered “Yang Sanpanku” still manages to sculpt a dramatic arc out of what at first seems like a monolithic, buzz-killing drone; it’s a song that sounds anthemic even if it lacks the basic lyrical intelligibility required of a proper anthem. Packing five songs into 15 minutes, Negaverse goes by in a blur– but what impresses most is its sense of patience” (

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29 noviembre, 2012 Posted by | No Joy | Deja un comentario

No Joy: Ghost Blonde (2010)


Para los que tuvimos la suerte de vivir musicalmente la década de los noventa, no nos resulta extraño que la actual generación tome como modelos referenciales muchos de los grupos y bandas que entonces surgieron o que eclosionaron en aquellos años, tal fue la variedad estilística y los hallazgos musicales que por entonces surgieron. Uno de esos exponentes de esa nueva generación es el dúo canadiense No Joy, dos chicas absolutamente fascinadas por el Noise-Pop y el Shoegaze, que han visto en la edición de discos la vía de escape a sus inquietudes. En realidad No Joy ya han aparecido por TJB en un par de ocasiones cuando ni siquiera tenían contrato discográfico y compartieron sus temas maqueteros en su Bandcamp. Las chicas han evolucionado y han fichado por un sello que les ha producido este Ghost Blonde (2010), un álbum en el que además de dar rienda suelta a toda su furia guitarrera, han podido expresar todas esas inquietudes musicales y referenciales a las que hacíamos mención. Porque Ghost Blonde es, ante todo, un disco donde las huellas están claras: My Bloody Valentine, Lush, mucha de la hornada del Shoegaze… y Sonic Youth. La influencia de la Juventud Sónica es lógica en cualquier banda que se aventure hacia los terrenos del Noise, y está latente durante todo el disco: Hawaii, You girls smoke cigarrettes?, Indigo child, Still… Las preferencias ruidosas del dúo se amplían también a Yo La Tengo (Ghost Blonde). Para cerrar el comentario os diré que el disco se abre con una terna que es de las más interesantes de las que haya oído durante el año: Mediumship, Heedless, Maggie says I love you, You girls smoke cigarrettes? Una forma contundente de comenzar un álbum que, aunque pierde algo de energía en su tramo central, finaliza de forma majestuosa con la reseñada Ghost blonde. Un debut notable en el que se mezclan cantidad de influencias más o menos por igual pero que en la turmix de Jasamine y Laura les ha quedado tan natural como un yogur en tu nevera. Deberías oírlo.

No Joy – Ghost Blonde (2010)

“I have this sneaking suspicion that more than one music writer will describe No Joy as the female version of No Age. While both artists’ namesakes negate something, boast two members, and dabble heavily in shoegaze ambience, such an opinion is lazy journalism and does a great disservice to this fine Montreal-based upstart. And without being too anally PC about shit, I do take umbrage with the term “girl group,” which I’ve already seen in early press. You don’t call Deerhunter a “dude group,” do you (Whitney Petty’s short tenure with the band notwithstanding)? And moreover, the “girl group” moniker will subsequently categorize the artist into either the “siren” or “riot grrl” camp. No Joy, not to mention many women in punk and indie rock before them, transcend such labels. So shouldn’t we be passed this already?
With that said, Laura Lloyd and Jasamine White cheekily embrace these expectations, whether it’s the album’s title Ghost Blonde, track titles like “You Girls Smoke Cigarettes?,” or the Sweet Valley Twins book covers that populate No Joy’s MySpace page. I dig their style.
More importantly, No Joy is a creature of its own device, borrowing heavily from the silkier side of punk a la Split-era Lush and Jet Set Sonic Youth more than, going back to the earlier example, No Age’s Husker Du parallels. Lloyd and White wear their love for the ’90s proudly – brandishing Fender Jazzmasters, the diving rod of choice for Kevin Shields, and amalgamating the ethereal textures of dream pop with the nasty, grimey guitar fuzztones beloved by Mudhoney. Dare I say you even hear a little post rock in the repetive, hypnotic, tension-and-release, six and a half minute album-closing title track. Of course, the heavy reverb and sunshine-evocative psychedelic prism recalls many of the fine late ’60s touchstones, particularly the oft-referenced Phil Spector acts.
However, Ghost Blonde isn’t some nostaglia act. The songwriting throughout their full-length is wholly unique and solid. Album opener “Mediumship” brings the sneer, soul, and swagger of The Creation and the Velvets. “Hawaii” is a troublemaking punk-as-fuck fist pumper that cuts like a missile between the ambient post doo-wop of “Pacific Pride” and “Indigo Child.” “Maggie Says I Love You” and “You Girls Smoke Cigarettes” seems to act as a sort of conceptual suite, with both songs sharing the same chorus “the way home / the way home.” Tracks like “Still” and “Heedless” provide the true-to-cannon garage shoegaze aesthetic and keep Ghost Blonde’s myriad ideas cohesive. Despite the references, there’s an identifiable originality in No Joy’s debut effort that separates them from the hordes of imitators. Perhaps it’s the Khanate reference in their name, or perhaps it’s something completely intangible, but No Joy is not all about the good vibes that’s been repeated ad infium by their contemporaries. Sure, you could spin this record at the beach, but a visceral sesne of foreboding lurks under the hazy, murky sonic pallette. This isn’t dreamy, wistful beach pop. As a whole, Ghost Blonde is closer to a sort of sludgey doomgaze. Yet, they still masterfully craft crystalline four-minute pop songs. And therein is what makes No Joy exemplary. While I can’t guarantee the same listening experience for you, I have a serious personal relationship with the sounds of the late ’60s and early ’90s, and as such, the quality of this 37 minutes of music really hit home for me” (

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15 diciembre, 2010 Posted by | No Joy | 1 comentario

No Joy: Heedless (Single, 2010)


No Joy es una de esas bandas que tras un paso furtivo por internet con un single en descarga gratuita en su Bandcamp, han conseguido hacerse un hueco dentro de una discográfica independiente que les va a editar su primer larga duración, Ghost Blonde, que aparecerá en Noviembre de 2010. Por lo pronto, han decidido compartir con todos nosotros Heedless, un nuevo tema que les muestra más o menos en la misma onda que su primer sencillo, y aunque su grabación es algo más aseada, su sonido es igual de oscuro, con una influencia Shoegaze en su actitud Noise-Pop. Gran tema que augura un gran disco para este dúo de Montreal. Por cierto, que la compañía para la que han fichado es Mexican Summer, la misma que traqbaja con Tamaryn o Best Coast. Buen gusto no les falta…

No Joy – Heedless (Single, 2010)

We could say a lot of things about the debut album from Montreal/LA ladies No Joy: that it fully delivers on the promise of their Mexican Summer 7”, that it builds upon the revitalization of shoegaze pop in recent times with a melodic fervor and angst that many of their contemporaries fail to capitalize on, that their records look and sound gorgeous, that there are moments on Ghost Blonde that match the challenges laid down by My Bloody Valentine and Lush years ago. We could say those things, but then what would the bloggers think? Probably the same. Oh well. We said it. Killer record from a band to be reckoned with. Ten new songs that’ll singe your eyelashes off” (MySpace)

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5 octubre, 2010 Posted by | No Joy | Deja un comentario

No Joy: No Summer / No joy (7″, Autoproducido, 2010)


La verdad es que poco conozco de No Joy, combo mixto formado en torno a Los Ángeles y Montreal, de quienes no recuerdo cómo llegué a su Bandcamp para comprobar que su single es de descarga gratuita. La banda está formada por Laura Lloyd, Jasamine White-Gluz, Yannick Sarrazin, Dabnis Brickey y Eduardo Del Baso. El disco está grabado, mezclado y masterizado por Graham Van Pelt en los estudios Pine, de Montreal. Poco o nada se dice de ellas en su MySpace, pero la verdad es que escuchando sus dos temas, tampoco nos hace falta saber demasiado más. Tan sólo deciros que si sois amantes del Noise-Pop, del Lo-Fi y del Shoegaze, tanto No summer como No joy, los dos temas que nos ofrecen, satisfarán vuestros ávidos oídos. Distorsión, melodías, voces susurrantes y pocas tomas de grabación nos transportan de cabeza hacia la década de los noventa cuando gentes como Galaxie 500, Magic Hour, East River Pipe o Sonic Youth nos arrebataban. Muy recomendado.

No Joy – No summer / No joy (7″)

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9 abril, 2010 Posted by | No Joy | Deja un comentario


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