No Joy – Bugland
As the fifth album from the enigmatic project No Joy approaches, it's natural to second-guess the sound that frontwoman and sole permanent member Jasamine White-Gluz has in store for us. Having traversed a sonic landscape that spans scuzzy Montreal shoegazers, glam rock enthusiasts, and spidery dream-poppers, it's unclear what direction White-Gluz will take this time around.
Fortunately, No Joy's latest offering, Bugland, is a treasure trove of futuristic soundscapes and emotional resonance. Collaborating with IDM/maximalist/face-melting producer Fire-Toolz (aka Angel Marcloid), the duo crafts a medium that seamlessly bridges the gap between digital music and the shoegaze of the past.
The album sputters into life on 'Garbage Dream House', with a frenetic energy reminiscent of Aphex's most maniacal moments. However, as the track progresses, a frostbitten synth and a tectonic drumbeat emerge, evoking the image of a robotised Rite of Spring: synth pads awakening from sublunary slumbers, lichen-cloaked vocals collecting firewood, menacing guitar lines bubbling under a lake.
Fire-Toolz' production is characterized by an unparalleled precision that borders on machine sentience. At times, it feels as if Marcloid has somehow imbued her DAW with a nervous system, allowing the two artists to push the boundaries of electronic music in ways both strikingly deft and consciously playful.
Tracks like 'Save the Lobsters' and 'I hate that I forget what you look like' showcase the totemic, artful pop sensibilities of Kate Bush, Angel Olsen, and Björk, glinting through the forest like a modular synth-drawn dawn chorus. Meanwhile, 'Jelly Meadow Bright', the album's closer, sees the meeting of organic melodic impulses and the precision-crafted electronics that define Fire-Toolz' sound.
The result is an album that feels both futuristic and emotionally resonant – a true collaboration between two visionary artists who are unafraid to push the boundaries of what electronic music can be. And yet, despite its avant-garde leanings, Bugland remains a pop album at heart, with a sense of playfulness and inventiveness that's hard to resist.
A World Suspended Between Digital and Corporeal
What sets No Joy apart from their shoegaze contemporaries is their willingness to explore the inventive, infinite beauty of a world increasingly suspended between digital and corporeal spaces. The duo revels in this liminal realm, where AI and other technology meet the radical relationship between electronic and natural sounds.
In an age where music often seems bound by nostalgia for a bygone era, No Joy's Bugland feels like a breath of fresh air – a testament to the power of innovation and creativity in the digital age. Even a century from now, I imagine there'll be some iteration of No Joy quietly modding their way into whatever blissed-out music the future may hold.
So, if you're ready to embark on a sonic journey that's both futuristic and emotionally resonant, then Bugland is an album that's sure to captivate. With Fire-Toolz at the helm, No Joy has created something truly special – a medium that bridges the gap between digital music and the shoegaze of the past.
And so, with Adderall in hand (because, let's be real, this album is not for the faint of heart), dive headfirst into the world of Bugland. You won't be disappointed.