For the past few years, we’ve been stoked to see a resurgence in shoegaze and dream pop in a new generation of bands. The Wall of Sound is growing and every year, we’re finding more and more rad music that’s layered in dreamy fuzz, crashing percussion, and crushing guitars. With this three-part interview feature, Gaze Into a New Generation of Sound, we want to shine a light on some of these bands. Some have been around for a while and some are brand new, but all of them play music that has us enthralled.
FOLIAGE
I grew up as a young child addicted to indie, dream pop, jangle pop, and post-punk bands like The Smiths, The Cure, Stone Roses, and New Order. My taste later evolved into early 00’s and 10’s indie bands like Bloc Party, Phoenix, and Two Door Cinema Club. In my early teens, I discovered My Bloody Valentine, and Slowdive. In my later teens, Fleeting Joys, Lush, Lilys, Swirlies, PinkShinyUltraBlast, and Astrobrite became shoegaze staples for me.
I was literally in 3rd or 4th grade when I first heard The Smiths, and it blew my mind. I was like 9 years old, and would steal my sister’s OG fat iPod and turn it up max volume and feel goosebumps on my skin. She had all of those aforementioned bands on her iPod as well.
I’ve always had a love for jangly guitars and loud volume, whether that loudness was clean and present, or distorted and ethereal/ambiguous.
I think Shoegaze really popped off hard even back in the early 2010’s when MBV finally got their flowers for Loveless, and same with Slowdive for Souvlaki. Later, a revival came with bands like DIIV utilizing wall-of-sound reverb to their advantage, such as their debut Oshin, although it’s subjective whether or not it is a shoegaze record.
I would say the straw that really broke the camel’s back were Whirr and Nothing’s contributions, which exploded and spawned the sound the kids are into today. I call it “NuGaze” since it’s more of its own thing than traditional 90’s/00’s stuff. It’s definitely got influences from post-hardcore and nu-metal, especially with the heavy drum focus.
The past classic records from the 90’s/00’s shoegaze scene were more guitar/melody focused, almost like a cloud, where you would hear melodies that aren’t even there, and there was a beauty to that. The NuGaze sound that we’re hearing today making the rounds is a lot more clear and focused, there’s a heavier structure now, rather than cool production tricks that you can ONLY hear on THAT record from THAT artist, so to speak.
Now, 30 years later with the rise of Tiktok, kids really love those guys and this sound, as well as Deftones, and, to an extent, Smashing Pumpkins. There’s tons and tons of bands that sound like this now, which is subjective as to whether or not the genre is “dead” or “thriving.” My personal opinion: It’s nowhere near as good, but shoegaze is bigger than ever now, and becoming more and more of a mainstream thing, so maybe that’s a win for all of the ‘gazers out there.
I talked about the current state of shoegaze in this video that got some attention, and possibly some heat. The comments seem to agree with me, so I guess I’m not the only one who feels where I’m coming from.
There’s not really a point of doing the same thing that somebody else has done, unless you are truly offering something unheard in that circle, whether that’s sound design, melodies, production choices, and even songwriting in general. How many bands are playing the same 4 chords for 4 minutes? Something needs to change. Both figuratively and literally, there needs to be more “moments” in songs.
I think there’s a lot of talent out there that is going un-utilized, as bands are chasing a sound that only the acts they are trying to emulate are able to produce. Authenticity is key, and will make you shine no matter what, and we need more musicians that are willing to take risks. Don’t be afraid to pull from other places outside of the genre. Look to the greats, but don’t bite their shit.
Though it falls under the dream pop and (occasionally) shoegaze umbrellas, Foliage pulls from so much more. There’s lots of Sarah Records and Flying Nun jangle pop and post-punk things going on, but there’s also this absolute hip-hop and electronic edge to everything, whether or not you hear it upon first stepping into the Foliage world.
My biggest musical influence is J Dilla, and it’s the reason why I make sure all my drums and production knock hard as fuck. You really gotta bop your head to this shit and feel what’s going on. Kendrick Lamar is another, I love the progressiveness of all of his work and that inspires me to have “moments” in songs, even if the songs only have a few phrases of chord progressions.
It’s constantly changing to the next melody or drum part, even if it’s subtle. I picked up on that through Aphex Twin as well. I personally see Foliage as a hip-hop/electronic-influenced Guitar Pop project.
The shoegaze community is stronger than ever, especially with how popular it is now. The music, in my opinion, has gone stagnant to some degree, as I’ve said earlier, but there are some really fuckin’ good bands and artists out there doing their thing. (Sunshy and Kraus for example) I think we all hope to see more game changers out there though for sure. It’s only a matter of time.
Performing live, you gotta be in the moment. You gotta read the room. But even then, you gotta wake people up and convince them, “hey, this shit is actually dope and I paid money to see this show and I’m getting my money’s worth.” Especially, if you’re performing as the support or opening act.
The amount of times I’ve gotten, “I came to see ________ but y’all really stole the show,” is always heartwarming and inspiring. I like to “steal the show,” not only through the music and performance, but through stage presence and banter. It’s good to make people laugh and make sure everyone is having a good time. Sometimes you see a show and there’s a real disconnect from the audience. Not with Foliage, I try to keep that 100% engaged at all times. Doing live music is almost like being a comedian: you gotta control the room, and you really gotta bounce off the people and figure out what’s right in the moment.
[Text by Manuel Joseph Walker]
Foliage: Throwaways
ALUMINUM
The best shoegaze bands are always trying to push the edges of what guitar music is and can be. That sense of experimentation is what drew me in, along with the androgyny of the bands. It is loud and sometimes aggressive music that isn’t overtly masculine.
I’m not really sure what brought on the shoegaze revival. It might tie in with the androgyny of the music, with gender norms becoming more fluid today. But maybe it’s just a “vibes” thing.
I’ve gotten really into electronic music over the past few years, and have tried to incorporate some of those elements into our music. But instead of just using the same tools as electronic music, like synths and drum machines, trying to take some of those elements and reinterpret them for a guitar-based band. Like, ‘how do you make a synth riser sound with a guitar?’ Stuff like that.
We are trying to make music that can be a full body experience. Where you feel it going through you, blanketing all the senses.
The Bay Area is killing it right now. Bands such as April Magazine and Blue Zero are both taking the shoegaze formula and doing completely different things with it. Chime School is releasing a crazy good album right now, just perfect guitar pop songwriting. Outside the Bay, bands like Dummy in LA and JRCG in Seattle are also pushing the limits. I like bands that are trying to reach outside convention and putting an effort into finding new sounds.
Everyone in the scene is also really helpful and supportive of one another, which can’t be taken for granted. It doesn’t feel competitive, everyone’s just on their own shit and hyping up their friends.
[Text by Marc Leyda]
Aluminum: Fully Beat
Label: Felte Records
ANEMIC
Shoegaze is so indescribable. It is melodic but heavy, beautiful but distorted, hopeless but lush. MBV was my first intro as a teenager, and I thought it could never be replicated. Then Whirr made me realize it could.
There’s an intangible sound and style to shoegaze. The current music scene is a melting pot in every sense of the phrase and younger musicians/show-goers have redefined music in all the best ways. I think young people have no bounds when it comes to creativity, and shoegaze is the perfect vessel to keep pushing that creativity.
Anemic is heavily influenced by Deftones. As a band, we want to bring a sound that leans more on the heavy side while still keeping a melancholic drone. We’ve barely tapped into that sound with our first release, but it’s something we want to explore further.
Anemic is the aftermath of a storm. Sparse rays of light coming through the clouds, muddled reflections of what was once there and repairing the damage done.
The musician community in 2024 is amazing. Being able to see a hardcore band, shoegaze band and techno set all in one night sums it up. Homies will always be the inspiration. Shout out Luster, Sonnet One, Photographic Memory, Provoker, Glitterer.
ANEMIC: Bittersweet
BREATHS
When I first heard Hum, I was 13 and “Stars” was in regular rotation on my local radio. Whether you consider Hum shoegaze or not, it was my first introduction to that sound, and I loved it. I also loved Smashing Pumpkins, and so many of their songs have a heavy shoegaze influence. Then when Deftones released Around the Fur, specifically the song “Be Quiet and Drive (Far Away),” I was hooked on that dreamy, huge wall of sound that heavy shoegaze-influenced music had to offer. Later, with bands like Nothing and Cloakroom coming onto the scene, and blackgaze like Alcest and Deafheaven, I saw the breadth of sound and emotion that sound and influence could offer.
I don’t feel like shoegaze ever really went away. I mean, bands like Nothing and Cloakroom have been doing it a while, bridging the gap the last 15 years or so. Before that, it was the other bands I mentioned, along with a handful of dreampop/indie-leaning bands (Doves, for example, even some Radiohead). I was young during the original shoegaze explosion, and wasn’t introduced to the music of those original big bands (My Bloody Valentine, Slowdive, Swerverdriver etc.) until much later, after some had already long broke up and reunited. Then around the same time, some of the newer bands, like Holy Fawn and Slow Crush, were coming onto the scene. That, combined with what Lantlos, Alcest, and Deafheaven (and others were doing), it just seemed even more intense and emotional than ever. I think young people (I am not one of them, haha…I’m just a 42 year old music nerd) are really attracted to that emotion and intensity that I got hearing Hum and Deftones “Be Quiet and Drive (Far Away)” for the first time.
Breaths is a solo project, all me, so I just write what I’m feeling at the time. This newest record is my first real venture fully into heavy shoegaze, as I was really feeling it at the time, and the songs just poured out. I’ve been playing music in bands/solo projects off and on for over 25 years, and I’ve always put elements of shoegaze into whatever I do. Breaths started out more doom/post-metal/blackgaze, and honestly, I have no idea where it’ll go. I tend to genre bend a lot, so the fact that this new self-titled album of mine has a consistent heavy shoegaze sound is very different for me. I doubt I’ll repeat that in the future, but who knows. Likely will just have shoegaze elements and/or songs that lean in that direction.
I haven’t played live in sometime, but will be playing live again soon with my band Violescent (more sludge/doom/prog metal). When I play live, I just put all the emotion and energy I can into my performance, and the most I could hope for is that the audience feels and sees that.
I just listen to what I like. I check out new bands all the time, and new releases from established bands. I frequently check sites like Heavyblogisheavy and CVLT Nation for music recommendations, and then whatever I stumble upon in playlists or whatever.
I’ve made some awesome connections the last few years and had some amazing guest vocalists on some songs of mine (Chad Kapper of Frontierer did guest vocals on my song “When Soft Voices Die” a few years back, and Matt McGachy from Cryptopsy did guest vocals on “We See You” from my last album). I’m inspired by so much music in and outside the realm of shoegaze, as well as life, books/movies, current events…everything.
[Text by Jason Roberts]
BREATHS S/T
CITRUS
I think the fact that we all have a liking of aggressive music with solid melodies is what drew us into shoegaze.
I remember listening to shoegaze for the first time and thinking how insane it was that someone could write something heavy and purposely go in and out of tune during a song and it actually sounded good?? I thought that was such a game-changer.
Growing up in the hardcore and metalcore scene, it was really cool and inspiring to see how bands can implement such a similar sound to hardcore as far as being heavy, but also making it sound so atmospheric and beautiful.
I remember writing our S/T EP like 6 years ago, and thinking there was not as much hype or bands, at least where we’re from, on the genre at the time as there is now. I’m glad shoegaze is getting the attention it deserves, and we’re just lucky to be a part of the new generation for it.
Apart from being influenced by other bands and genres, I guess life experiences and friends are the main influences on our music. In a way, I’m trying to translate my emotions sonically. Lyrically, I try to talk about my own personal experiences and the ups and downs I’ve gone through in hopes that someone else out there can relate in some sort of way.
Live, we’ve been told we’re “mysterious” and leave people in a trance state.
Fortunately, we’re surrounded by a lot of talented musicians and creative friends, so there’s definitely a sense of unity for us. I think we all get kind of inspired by each other since we’re all in other bands/have our own creative projects, so it’s very easy for us to get inspired by each other and other friends who are constantly creating.
Just a few to name, like Roman Around, MRS, Roving, dilute_calico98, Shop Dog, Falter, Paradise Blossom, Salt+, Foliage, Leaving (label mates), Gata Callejera, Sueños, Cheridomingo.
We’re all very competent and genuine when it comes to creating, because it does take a sense of vulnerability to be able to share or contribute your art with others, and it’s really hard to find that at times in a community where some are trying to compete against you instead of help you.
[Text by Marcos Flores II]
CITRUS – CITRUS EP
Label: Transylvanian Recordings
AMERICAN CULTURE
We are in love with playing the guitar and with pushing the envelope of what it and our other equipment can do sonically. For us, bands like MBV and Ride are it. Also bands like Sonic Youth and the Meat Puppets. It’s all psychological music. Getting into a transcendent head space.
I think visceral music, visceral feelings, don’t go out of style. People like to (need to, sometimes) have something intense and primitive wash over them. It’s a human thing and it’s what gives music, especially live music, its power… regardless of genre or trends. From heavy metal and hardcore to techno and, of course, shoegaze, people respond to what the music does to you both physically and emotionally.
We didn’t set out trying to make classic shoegaze music or really any genre specifically (But neither did Kevin Shields). We’re more interested in using music to create certain feelings, to communicate an aesthetic or vibe. Our goal is to make different people’s brains find the same feelings; whether it’s tapping into an experience or a vibe, whether it’s something new or something nostalgic. Using guitars to get there is sometimes called shoegaze, I guess. It’s important to do what Kevin Shields did. And by that, I don’t mean playing guitar like he did or using the same equipment he did, but creating something with the same intention that he and many of our heroes have had. MBV was trying to push the boundaries of what instruments can do to make something original and exciting. Do that.
I’m not sure if we are a part of a specifically Shoegaze/DreamPop community… our community/scene is more about ideals and aesthetics than genre (we just refer to it as the Punk/DIY scene), and that’s the community that we are involved in, both locally and when we go on the road. I can say that while doing a lot of touring this year we have noticed an uptick in bands doing a thing that could be called “shoegaze/dream pop,” but each of those bands is doing something really unique and putting their own spin on things, even when they’re drawing from a similar palate of influences/ideologies. The bands that we interact with are tied together by common intentions, values, and a way of doing things. As a community, I would describe it as supportive and subversive.
Regardless of how our sound changes and develops, our music is always going to be about imagery at its core. I think we are probably a little more lyric-driven than a lot of shoegaze bands, so we use that visceral sound as a delivery method for our poetry.
AMERICAN CULTURE: Hey Brother, It’s Been a While
Label: Convulse Records
SUMMER DARLING TAPES
What really draws me into shoegaze and dream pop is the emotional complexity within the music. Shoegaze and dream pop blend melancholy with beauty in a way that evokes a sense of nostalgia and comfort simultaneously. The use of multiple guitar effects creates a sense of space and depth, making the music feel expansive yet intimate. It can make you feel both elated and reflective at once.
Another thing I admire about these genres is how they focus more on atmospheres than traditional song structures. This approach enables a much deeper engagement with the music where you get lost in it entirely. It’s not only the lyrics or melody – it’s the whole sonic texture.
For me, it’s a personal retreat, a space where I can reflect, unwind, and just be present. Whether I’m walking through a city at night, sitting quietly at home, or driving around aimlessly, these genres provide a soundtrack that enhances those moments and makes them feel more vivid and meaningful. It’s this unique, transformative listening experience that keeps me coming back, time and time again.
The fact that young people are showing interest in shoegaze again, three decades after its birth, is simply amazing! This music not only stands the test of time but also resonates deeply because it embodies DIY values and a sense of community that remain relevant today. Shoegaze emerged from a time when artistic integrity mattered more than commercial success, making it particularly appealing to those who value authenticity in our increasingly materialistic society. What this renewed interest ultimately reflects is the enduring ability of these songs to profoundly touch us and offer an experience unlike any other form of entertainment. They provide an emotional refuge where individuals can connect on a deeper level, much like they did 30 years ago.
As a DIY label, our working relationship with bands is built on collaboration and support rather than traditional contracts or signings. We want to create an environment that nurtures creativity and allows artistic vision to flourish. That being said, we don’t have an exact formula when looking to work with new artists. The most important thing for us is the resonance of the music itself. Whether it’s meticulously produced or recorded in a raw, intimate setting like a basement or bedroom, what matters most is that the music moves us and makes a statement. This approach allows us to cultivate a diverse roster of artists whose work resonates with our label’s ethos of celebrating creativity and authenticity in music.
There are so many inspiring labels and bands making waves right now. à La Carte Records has been a significant influence; collaborating with them this year has been incredibly rewarding! Funeral Party, New Morality Zine, Sunday Drive Records, La Vida Es Un Mus, Dais, and Suburban Creep Records have consistently impressed with their releases over the past few years. Candlepin Records is another label we’re eager to collaborate with in the future. Convulse Records is another label that has been pushing boundaries with their diverse roster and amazing releases. And I can’t forget to mention Pleasure Tapes. You really need to pay attention to that label, the bands and the artistic outputs of that label are just phenomenal. These labels inspire us because they exemplify creativity, authenticity, and a commitment to pushing artistic boundaries. They’re not just releasing music; they’re curating experiences and fostering communities around their artistry, which aligns perfectly with our vision at Summer Darling Tapes.
It’s tough to say where shoegaze and dream pop will be in a decade, especially with everything feeling so uncertain these days. It might continue evolving, possibly blending more with electronic music or returning to a raw, lo-fi approach. On the other hand, it could fade into obscurity, becoming a niche interest that only a dedicated crowd keeps alive with their own unique interpretations. So, who knows what lies ahead? The one thing that has always stuck with me about both genres though is their ability to cause astonishment every time one listens to them.
WOOLWORM
Shoegaze and Dream Pop are simply universal and for the people. The sound of a fucked-up amount of distortion overtop of an inaudible voice or on the other end of the spectrum, the sound of a Disney-ass keyboard overtop of a Welsh lady… everybody likes that.
Unfortunately, kids are cooler now than they were 30 years ago. Aside from some of their outfits. Everything moves way faster now anyway, so I won’t be surprised when these same youth make the inevitable leap into ska.
Woolworm likes to rip off elements from butt rock and other technically bad types of music, only because there’s a wealth of underused ideas there. A shitty band is just as likely to have a dope idea as a good band. Then sometimes we just do that because it’s funny to us, like when we stole the famous drum fill from Three Days Grace’s “I Hate Everything About You” for our song “Sun Rock.”
We make music exclusively to connect with people and that’s the energy going around when we do it live. We sincerely put everything we have into every performance, giving it 110%, backs against the wall — all that shit. Then I see the videos of us later, and I think, it doesn’t really look like I’m doing that. Plus, people assume I’m being sarcastic between songs because my speaking voice is so nasal. Well fuck you too!
Our community is so all over the place now in terms of style and popularity that I don’t even know who to consider our peers. We did finally play with Iron Lung last month, and they remain extremely inspiring. I like their approach — just do music indefinitely.
[Text by Giles Roy]
WOOLWORM: Bang
SLIDE
Loud feedback and soft-sung longing. Suspended chords and ear torture. The juxtaposition of these textures/ideas/emotions creates a rich sonic experience that is hard to find anywhere else. The way shoegaze interacts emotionally with everyday experiences, both good and bad, feels like watching your whole past and future combine in one moment. Nostalgia, regret, hope, and dread all at once. The intersection of sadness and anger, of depression and mania.
I think people today are searching for authenticity and depth in music. Something unique, thought-provoking, or even thought-drowning if that’s what you are looking for. Songs that turn your morning commute into a movie scene instead of a routine. You start to notice the small things and shoegaze’s ability to blend the melancholy with the beautiful resonates with the complexities of modern life. There’s something timeless about the emotional weight of it that keeps it relevant. And TikTok lol.
Growing up around Philly has been a huge influence on us in and of itself. There is a lot of hopelessness here, and you don’t get far by faking it ‘till you make it. There’s a realness here that you don’t find in most other places. There’s also a lot of beauty here that isn’t hard to find if you go looking. The combination of those things inspires/informs our sound a lot, but beyond that, we are lovers of many genres and incorporate as much of what we love as we can into our music. Combining the weight and momentum of bands like Xibalba and World of Pain with the beauty/mystery of bands like Slow Crush and Luster.
We like to play with gravity. Sinking and floating. Waves pulling you under water, nearly suffocating you and then crashing before propelling you back to shore. A place between death and rebirth where both forces are pulling you with equal weight and with equal determination.
We spend so much time grinding in a controlled environment (rehearsing/writing/mixing etc.) that live shows are a huge release for us. A release of frustration, anxiety, sadness, and joy all at once. We use shows as an opportunity to experiment and push the boundaries of what’s possible with four members instead of just playing the records as is. No two Slide shows will ever sound the same. We try to create an immersive experience from start to finish and we don’t like silence in between songs so we spend time making samples/interlude type pieces to play while tuning to keep everyone (including us) in that trance/escape from reality headspace. And to give everyone’s ears a break from the loud volume ‘n feedback mods lol.
The Philly scene is sick. We have all played in a ton of different bands/scenes growing up but nothing compares to what’s happening in the city right now. Everybody is so supportive and there’s really no cliques or “cool kid” groups. We were welcomed with open arms LONG before we had anything to offer in terms of pulling heads or selling tickets. Bands like Doused, All Under Heaven, and They Are Gutting a Body of Water gave us so many opportunities when we were starting out and inspired/motivated us in so many ways that go beyond the music. Touring bands are always telling us how unique the Philly scene is and we do our best to never take it for granted. Philly Shoegaze is the truth. Shout out to Michael Cucci and Suburban Creep records too.
SLIDE: Loss
SUNDER
I was introduced to dream pop/shoegaze at a young age in the form of The Cure and Cocteau Twins, thanks to my Mother. I remember distinctly that the soundscapes moved me into a completely different world I could have never imagined. Up until that point, I was fueled by the sounds of Punk Rock fury. The ability to transform the world around you so dramatically, be it full of beauty and longing, or the harsh crushing weight of sound. From the moment I heard it, I was hooked.
With every new Genre, or Sub-Genre that eventually forms and finds its time in the sun, it finds its way back into the DIY and underground to then become refined. Now, in a generation where it seems everyone has an all-access-pass into the subculture, young people have an easier time going back and experiencing the labors of love finely crafted over the years, and for a genre with some of the most dynamic sounds out there it’s easy to see how it can resonate once they come across it.
To me, taking what you love and not being afraid to experiment with what lives inside you is the best thing an artist can do, not only for themselves but for their artistic community.The shoegaze community is bigger than ever. In recent years, it’s definitely taken to a heavier sound. I mean, who doesn’t love bands that have the riffs (shoutout Trauma Ray & Kraus). At times, it feels as though Dream-Pop is on the backburner compared to Shoegaze and Darkwave right now, but then again you have bands like Crushed making hits. Point is, for the time being there’s a lot out right now to enjoy, and more on the way. I’m looking forward to every minute of it.
SUNDER: HEAVEN CAN DECIDE
