No Joy - Ghost Blonde

Having begun life in 2009 as a long-distance collaboration between Montreal native Laura Lloyd and LA resident Jasmine White-Glutz, No Joy’s heady, shoegaze inspired sound soon caught the attention of Mexican Summer. Having arrived on the scene in somewhat of a whirlwind, the duo rapidly became a quartet when they were signed last July. Written and recorded in just three weeks, after which the band actually learnt the songs, their debut album seems to have inherited the characteristics of its inception. Made possible through the rapid consumerism of the digital age and diminished attention span of today’s music industry, (which propels invigoratingly exciting bands to the fore as much as it forgets them), ‘Ghost Blonde’ not only reflects the exhilaration of its recording process but the perils of haste.

Steeped in traditional shoegaze attire, from low fuzzy reverb and ear-piercing feedback to hazy, layered vocals album opener ‘Mediumship’ sets the tone for the next 37 minutes. Immersing the listener in dream-like fog of hushed tones, blurry instrumentals and infectious pop hooks the four-piece have much in common with contemporaries and well-publicised fans Best Coast, while their brooding bass rhythm owes as much to the Breeders as anything else. Lacking the raw vitriol that informs their live show, ‘Ghost Blonde’ finds its more violent moments such as ‘Hawaii’ diffused by the plaintive moans of songs like ‘Untitled’ and ‘Pacific Pride.’ The delicate chimes and more distinct guitar strums of these moments are necessary for No Joy to offer up the blistering guitar howls that they do without burning out too fast.

A refreshingly honest absorption of influences No Joy’s debut album is definitely more than just a derivative homage to that elusive My Bloody Valentine era, it has just enough elements bubbling beneath the surface to find itself in more unique territory. Revealing itself to those with the patience to listen, the subtle nuances of their musical experiments would have flourished more if they had been given time to grow and reflect as a band. As it is, with such a rushed effort, ‘Ghost Blonde’ doesn’t take many risks and suffers somewhat from the highly pressurised circumstances in which it was created.

As a debut record ‘Ghost Blonde’ hints at the raw vitriol and fluid experimentation of releases to come but in itself it requires time and dedication to fully appreciate, to see why No Joy are more than just also-rans, which in a world that moves as fast as this, is difficult to come by.