A recent interview over at Jezebel was just published that validates the research my colleague Julie Turley and I have been studying in the last two years regarding Motherhood – and that is – the story of how women, particularly women who participate in the musical subcultures of rock and metal feel a multi-faceted sense of loss, grounded in the expectations of what motherhood looks like.
The interview is with musician Jasmine White-Gluz (those of you probably know her sister, Alissa White-Gluz, death metal vocalist of Arch Enemy) and discusses her solo project as No Joy. Her new album, entitled Motherhood is an exploration of shape-shifting, at times heavy (though heavy is relative), dream pop songs. While I usually post about women in the extreme metal music subculture, Jasmine’s album explores an area that mixes said dream pop elements with concept and layers of motherhood both through composition and lyrics that had me intrigued.
The album’s opening track “birthmark” has your standard poppy arrangements but with the second track “dream rats”, multilayered vocals catch my attention and preference for more complexity. Finding out that the additional vocals were provided by Alissa White-Gluz was a plus, as I’ve always been a fan of death vocals.
Another highlight of the album is the track entitled “four”, which starts off with a bit of a shoe-gaze feel that slowly implements dream pop rhythms and repetitive vocals mid-way. I kept wanting the song to go a little darker/heavier but was pleasantly surprised with how the interchanges between dream pop and guitar play kept my ear at just the right level of interest.
While other reviewers relate this album to a 90’s noise-rock feel, some songs felt like I was back in the NY club scene, circa 1988, dancing with goth rain dancers, especially their song, “ageless”. Overall, I loved White-Gluz’s focus on Motherhood; the album offers a trippy road trip through her experiences and vision in discussing a concept so overlooked in the music industry.