Shoegaze

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Shoegaze
A photograph of a typical shoegaze musician's guitar pedals.
Other namesShoegazing (early)
Stylistic origins
Cultural originsLate 1980s, the United Kingdom
Derivative forms
Fusion genres
Blackgaze
Other topics

Shoegaze (originally known as shoegazing) is a subgenre of indie and alternative rock characterised by its ethereal soundscapes, use of obscured vocals, heavy guitar effects, and distortion, often producing an immersive "wall of sound". Shoegaze originated in the United Kingdom during the late 1980s among neo-psychedelic groups, who drew influence from post-punk and dream pop. The term was coined by the British music press to describe bands who usually stood motionless and stared down at their guitar pedals during live performances in a detached, non-confrontational state.

A loose label given to the shoegaze bands and other affiliated artists in London during the early 1990s was "The Scene That Celebrates Itself". Early shoegaze groups drew from Cocteau Twins and the Jesus and Mary Chain, alongside the template set by My Bloody Valentine on their albums Isn't Anything and Loveless.

The genre reached its peak in the early 1990s, particularly in the UK's underground rock scene, but was soon sidelined by American grunge and early Britpop acts, leading many bands to break up or reinvent their sound. By the 2000s and 2010s, shoegaze experienced a revival known as "nu gaze". The original scene also led to the emergence of fusion genres such as blackgaze, and influenced several internet microgenres such as shitgaze and witch house.

Characteristics

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"Soon"
"Soon", from the 1991 album Loveless by My Bloody Valentine, features a dance-oriented beat behind three tracks of Kevin Shields' "glide guitar".
Problems playing this file? See media help.

Shoegaze combines ethereal, swirling vocals with layers of distorted, bent, or flanged guitars to create a wash of sound where no instrument is distinguishable from the other.[3][1] The sound of the genre is typically characterised by overwhelming volume, long, droning riffs, heavy use of distortion and feedback, and subdued vocal delivery, with melodies often fading into the mix.[1]

According to Pitchfork, "emotionally, shoegaze turns its focus inward. The extreme noise eliminates the possibility of socializing while the music is playing, leaving each member of the audience alone with their thoughts. It's music for dreaming".[12] It is sometimes conflated with dream pop.[13][14] Early UK shoegaze was influenced by American bands such as Dinosaur Jr., Hüsker Dü and Sonic Youth.[15]

A defining characteristic of shoegaze is its use of heavily processed electric guitars. Guitarists often employ a wide range of effects such as reverb, delay, chorus, tremolo, and distortion to produce a layered and immersive wall of sound.[16] A notable technique within the genre is the use of the "glide guitar", developed by the Irish-English band My Bloody Valentine, in which pitch bends are achieved via the whammy bar during chord strumming to create a woozy, undulating effect.[16][17] These textures are frequently described as blurred or atmospheric and are designed to blend seamlessly, creating a continuous sonic field.[18]

Imagery

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A significant portion of early shoegaze output was released as extended plays (EPs), often consisting of three to five tracks.[19] This format enabled artists to develop and showcase their sound without the constraints of full-length albums. EPs served as important entry points for new listeners and were regarded as accessible representations of a band's stylistic identity.[20]

Visually, shoegaze releases often incorporate abstract or distorted imagery in album artwork and music videos, mirroring the genre's sonic qualities. Effects such as overexposure, blur, and color inversion are commonly used to complement the music's atmospheric qualities. Many notable early shoegaze bands featured both male and female members, contributing to a broader range of vocal timbres and a balance of musical sensibilities. Mixed-gender vocal interplay became a common feature in several influential acts.[16]

A notable pattern within shoegaze is the frequent use of band and release names containing phonesthemes—clusters of sounds that evoke movement or fluidity (e.g., Swirlies, Swervedriver, Whirlpool, Swoon). According to a study written by Zac Smith, this trend has been interpreted as an unconscious branding strategy that reflects the genre's emphasis on swirling, indistinct textures and fluid sound design.[16]

While many contemporary alternative rock scenes such as grunge and Britpop were largely male-dominated at the time, shoegaze bands including My Bloody Valentine, Slowdive, Lush, Pale Saints, and Curve, among others, featured at least one prominent female member who contributed significantly to their sound and songwriting. In the 2014 film Beautiful Noise, Kevin Shields noted that "there seemed to be as many girls around as guys" in the shoegaze scene.[21]

Etymology

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See also: Dream pop

According to Pitchfork, shoegaze is "a particularly unusual genre in that its name describes neither a sound nor a connection to music history".[22] The name comes from the heavy use of effects pedals, as the performers were often looking down at their pedals during such concerts.[23][2][1][24]

In a 2016 article for HuffPost, Andy Ross claimed he coined the term shoegazing at a show on 3 September 1991 which featured Chapterhouse, Slowdive and Moose, because the bands' members seemed to be "sucked into a state of trance by the footwear lurking semi-motionless beneath their low-slung guitars".[25] Alternatively, The Guinness Who's Who of Indie and New Wave Music (1992) claimed that the first use of the name was in a concert review for Moose, published by Sounds, in which the author referenced how singer Russell Yates read lyrics taped to the floor throughout the gig.[26]

According to AllMusic: "The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegaze by the British press because the band members stared at the floor while they performed".[1] The term was also used by the British music press to describe dream pop bands.[27] Slowdive's Simon Scott found the term relevant:

I always thought Robert Smith, when he was in Siouxsie and the Banshees playing guitar [on the 1983's Nocturne live video], was the coolest as he just stood there and let the music flood out. That anti showmanship was perfect so I never really understood why people began to use "shoegaze" as a negative term. I think if Slowdive didn't stand there looking at what pedal was about to go on and off we'd have been shite. [...] I am glad we were static and concentrated on playing well. Now it is a positive term.[28]

However, to some, the term was considered a pejorative, especially by a part of the English weekly music press who considered the movement as ineffectual, and it was disliked by many of the groups it purported to describe.[3] Lush's singer Miki Berenyi explained:

Shoegazing was originally a slag-off term. My partner [K.J. "Moose" McKillop], who was the guitarist in Moose, claims that it was originally leveled at his band. Apparently the journo was referring to the bank of effects pedals he had strewn across the stage that he had to keep staring at in order to operate. And then it just became a generic term for all those bands that had a big, sweeping, effects-laden sound, but all stood resolutely still on stage.[3]

Ride's Mark Gardener had another take on his group's static presentation: "We didn't want to use the stage as a platform for ego... We presented ourselves as normal people, as a band who wanted their fans to think they could do that too".[24] I

History

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Mid-1960s–1982s: Roots and early influences

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See also: Psychedelia and Post-punk
The Velvet Underground, an influential underground music act in the late 1960s, who were later described as influences on shoegaze

Shoegaze traces its roots to the psychedelic pop pioneered in the 1960s by bands such as the Byrds, the Beach Boys, and the Beatles.[29] The Velvet Underground have also been widely credited as a foundational influence on both proto-shoegaze (Spacemen 3,[30] the Jesus and Mary Chain[31]) and shoegaze acts (My Bloody Valentine,[32] Ride,[33] Slowdive[34]). Phil Spector's Wall of Sound, characterized by its use of natural reverb and echo chambers, foreshadowed many of the production techniques later embraced by shoegaze.[35]

The song "Tomorrow Never Knows",[36] recorded by the Beatles in 1966 and released on their album Revolver, "All I Wanna Do"[37] from the Beach Boys' 1970 album Sunflower, and Brian Eno's 1974 debut album Here Come the Warm Jets,[38][39] have all been retrospectively viewed as forerunners of shoegaze. Slowdive, who were fans of Eno's work, approached him to produce their album Souvlaki. Although he declined to produce, he spent a few days recording with the band, resulting in the tracks "Sing" and "Here She Comes".[40]

Early British post-punk bands were formative influences on the first wave of shoegaze.[41] Wire's 1979 single "Map Ref. 41°N 93°W" would later be covered by My Bloody Valentine. Slowdive named themselves after the Siouxsie and the Banshees song of the same name, released in 1982, and took inspiration from the group in their early days, while Lush were originally called "The Baby Machines", a name taken from a Banshees lyric.[42] Other influences include Robert Fripp's echo-laden guitar on David Bowie's 1977 song "'Heroes'",[43][44] as well as the Cure, with their "gothic, textured sound" — particularly on their 1982 album Pornography.[45]

1982–1988: Origins

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See also: Neo-psychedelia, Dream pop, and Noise pop
Often classified as dream pop, Scottish band Cocteau Twins (pictured in 1986) paved the way for the shoegaze scene

As a music genre, shoegaze developed during the 1980s, when a group of British neo-psychedelic bands such as Cocteau Twins, The Jesus and Mary Chain, and—most notably—My Bloody Valentine expanded the possibilities of the electric guitar, pairing dense, textural soundscapes with subdued, introspective vocals that challenged the traditional idea of the singer as the frontperson of a band.[46]

Emerging from the UK alternative scene with their 1982 debut album Garlands on 4AD, the Scottish trio Cocteau Twins had a substantial influence on the development of shoegaze.[47] Their music featured ethereal, atmospheric guitar textures crafted by guitarist and producer Robin Guthrie, and distinctive vocals by Elizabeth Fraser, whose often unintelligible singing was mixed low in the recordings.[48]

Another Scottish group, The Jesus and Mary Chain, is widely regarded as the immediate forerunner of shoegaze.[49] Blending traditional pop with noise and guitar feedback, their 1985 debut album Psychocandy exerted a major influence on the subsequent shoegaze bands, including the genre-defining My Bloody Valentine, with Creation Records founder Alan McGee noting that the latter "changed their style because of The Jesus and Mary Chain."[50]

Parallel to this, groups such as Spacemen 3 and Loop revived elements of 1960s space rock in their first albums (Sound of Confusion, 1986; Heaven's End, 1987), exploring minimalist, droning psychedelia over conventional pop structures.[51] Their rejection of stage theatrics and focus on sound itself anticipated the introverted, effects-driven aesthetic later associated with shoegaze.[52]

Across the Atlantic, American indie bands such as Sonic Youth, Dinosaur Jr., and Hüsker Dü also played an important role in shaping shoegaze's guitar language,[53] particularly influencing My Bloody Valentine.[54]

In 1988, after undergoing several stylistic and lineup changes, My Bloody Valentine released their breakthrough third EP, You Made Me Realise, on Creation Records, which showcased frontman Kevin Shields' newfound approach to guitar playing, known as "glide guitar". Later that year, the release of their debut album Isn't Anything was widely acclaimed as innovative and credited with shaping the shoegaze genre.[12]

Other late-1980s British groups such as A.R. Kane, The House of Love, Kitchens of Distinction, Bark Psychosis, and The Telescopes also experimented with noise, texture, and introspective songwriting, further contributing to the sound that would later develop into shoegaze.[55]

1989–1995: Recognition and Decline

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Rise of the scene

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Shoegaze began to emerge as a distinct music scene in late 1989 and came into full view in 1990.[56] In September 1989, 4AD released Pale Saints' first EP, Barging Into the Presence of God, followed by Lush's debut mini-album Scar. Both records produced by John Fryer—who had previously worked with Cocteau Twins—were well received by the British music press and reached number 3 on the UK Indie Chart.[57] A co-headlining show by Pale Saints and Lush that December in Leeds further highlighted a new direction in British indie rock, despite a mixed live review from Melody Maker.[58]

In 1990, Ride emerged as shoegaze's most prominent act

In 1990, Ride emerged at the forefront of the movement. After signing with Creation Records the previous year, the group released three acclaimed EPs—Ride, Play, and Fall—followed by their debut album Nowhere. Their televised performance of "Drive Blind" on Snub TV coincided with their first EP's release, propelling them to national attention.[59] Critics in Melody Maker and NME praised Ride's blend of dense guitar textures and melodic songwriting,[60][61] while Nowhere—mixed by producer Alan Moulder after a troubled recording process—became one of the genre's defining works.[62]

In February, Pale Saints released their debut album The Comforts of Madness, bridging dream pop and shoegaze's heavier edge.[63] That same month, Lush issued the Mad Love EP, produced by Cocteau Twins' Robin Guthrie, whose mentorship refined the band's once-chaotic sound into a polished, "beautiful, primitive" record.[64] In April, Creation Records released My Bloody Valentine's Glider EP, whose track "Soon" reached number 2 on the UK Indie Chart and was later described by Brian Eno as "the vaguest music ever to have been a hit."[65] The label continued to expand the scene with debut EPs by Swervedriver (Son of Mustang Ford) and Slowdive (Slowdive EP), the latter earning Melody Maker's "Single of the Week."[66]

Meanwhile, The Boo Radleys released their debut album Ichabod and I on Action Records, which largely was overlooked by the press.[67] Chapterhouse followed with the Freefall[68] and Sunburst EPs, while Lush's Sweetness and Light EP demonstrated shoegaze's pop potential despite Melody Maker's critique of its title track as "sorely over-produced".[69] The year's end also saw Swervedriver’s Rave Down EP, which bassist Adi Vines described as "ethereal metal" after it earned praise in a heavy metal magazine.[70]

By the end of 1990, shoegaze had gained significant underground traction. John Peel included three Ride songs on his year-end Festive Fifty list.[71] Ride's Nowhere appeared in Melody Maker's Top 30 albums of 1990 (#20), while My Bloody Valentine's Glider (#5), Ride's Fall (#7), and Lush's Mad Love (#19) featured in the magazine's year-end singles poll.[72]

The Scene That Celebrates Itself

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In the late 1980s and early 1990s, a small, close-knit community of indie bands emerged in the Thames Valley region, including Oxford, Reading, and London.[73] Key groups such as Ride, Slowdive, Chapterhouse, Lush, Moose, and Swervedriver formed what became known as the original shoegaze scene,[74] with the exception of My Bloody Valentine.[75] The bands often attended each other's gigs, shared producers and labels (mainly Creation and 4AD),[76] and even members, forming a friendly, self-supporting network rather than a competitive scene.[77]

Slowdive performing live in the early 1990s.

Notable meeting places included Syndrome, a weekly indie club on Oxford Street, and venues such as the Camden Falcon, the Borderline, and the Underworld. Outside London, shoegaze bands often toured together, and when the music press eventually took notice, the scene was quickly named and sensationalized.[78]

The phrase "The Scene That Celebrates Itself" was coined by Melody Maker journalist Steve Sutherland on June 8, 1991, in a review of a Moose concert at the Camden Falcon.[79] Sutherland noted that he was more struck by the audience than by the music, as the crowd was filled with members of similar bands applauding the performance.[80] Originally intended as a compliment,[81] the phrase was soon used pejoratively by the music press to portray the scene as idle, narcissistic, homogeneous, and detached from the working-class energy that had defined earlier British rock movements.[82] The shoegaze musician was ultimately caricatured as the "alpha student", a skinny, middle-class undergraduate with acne, wearing a bleach-faded T-shirt with blue and white circles, and carrying a copy of My Bloody Valentine's Isn't Anything under his arm.[83]

Beyond the core acts, The Scene also included avant-pop group Stereolab and short-lived indie rock band See See Rider, both of which frequently exchanged members with Moose.[84][85] Other associated acts included Thousand Yard Stare,[86] Revolver,[87] Th' Faith Healers, and early Blur.[88] The press also frequently linked Catherine Wheel, Curve, Cranes, Silverfish, and Pale Saints to the movement, even if they had few or no ties to the London club scene.[89]

Blur's first single, "She's So High" (1991), exhibited traces of shoegaze influence.[90] However, Damon Albarn later denied any connection with the scene, stating that the band simply knew many of the musicians involved.[91] The term "shoegaze" is said to have been coined by Andy Ross, Blur's manager, as a mocking reference to the other bands.[92] Blur later adopted a brighter, pop-oriented sound with songs such as "Popscene" (1992), which foreshadowed the emergence of Britpop.

The arrival of grunge

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In 1991, after winning Melody Maker's end-of-year readers' poll for Best Band, Ride appeared on the magazine's January cover, which proclaimed them "Your Brightest Hope for a Grand New Year."[93] The group's extensive touring and the success of their fourth EP, Today Forever, further eleveted their profile and led to an appearance on Top of the Pops. While this moment marked shoegaze’s brief entry into mainstream culture, declining sales soon underscored the genre’s limited mass appeal.[94]

Following Loveless, Kevin Shields retreated from public life and new recordings

Early 1991 saw a wave of several influential shoegaze releases. While My Bloody Valentine's second album was still highly anticipated, Creation Records issued the Tremolo EP, showcasing Kevin Shields' growing experimentation with sampling.[95] Two weeks later, the label released Slowdive's Morningrise EP, which Melody Maker praised for its "mutant orchestral beauty".[96] Although Chapterhouse's third EP, Pearl, received a negative review in NME,[97] their debut album Whirpool became a commercial success.[98] New acts such as Moose and Curve debuted with Jack and Blindfold EPs respectively, the latter noted for its unusual blend of dream pop and techno production.[99] At the same time, Kitchens of Distinction released their second album Strange Free World, which, despite Patrick Fitzgerald's non-traditional vocal style for the genre, went on to become a shoegaze classic.[100]

In the first half of 1991, the scene continued to expand with releases by Mercury Rev (Yerself Is Steam), Catherine Wheel (the debut Painful Thing EP), Pale Saints (Flesh Balloon EP), Slowdive (Holding Our Breath EP), and Swervedriver (Sandblasted EP). Yerself Is Steam represented an early example of shoegaze's sound influencing American indie rock.[101]

July 1991 was marked by the Slough Festival, often described as the "Shoegaze Woodstock."[102] Headlined by Ride and featuring Slowdive, Curve, and Revolver, the event was attended by members of Lush and Chapterhouse, reinforcing the music press term "The Scene That Celebrates Itself". That summer, Chapterhouse toured extensively, performing at major festivals such as Reading and Ein Abend in Wien in Rotterdam, where they first shared a stage with Nirvana.[103]

The release of Nirvana's Nevermind in September abruptly shifted global attention toward the Seattle sound, reducing media interest in shoegaze as coverage turned to grunge. The lukewarm reception of Slowdive's debut Just for a Day reflected growing critical fatigue in the British press.[104] In contrast, Swervedriver's debut album Raise received stronger reviews for its rugged, road-movie energy, distancing it from the "shoegaze" label.[105] Lush's Black Spring EP also performed well but was overshadowed by lineup changes and exhaustion from relentless touring.[106]

Shoegaze reached its artistic peak in November 1991 with the release of My Bloody Valentine's Loveless. Noted for its innovative production and dense, immersive sound, the album—costing a reported £270,000 and recorded over two and a half years across nineteen studios—is often cited as the genre-defining work.[12] By late 1991, journalist Simon Reynolds introduced shoegaze to American audiences as "dream pop" in The New York Times.[107] Optimism briefly grew that the genre might become the next major British export, but within a year, the spotlight had shifted decisively toward Seattle.[108]

Decline

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The coining of the term "The Scene That Celebrates Itself" was in many ways the beginning of the end for the first wave of shoegazers. The bands became perceived by critics as over-privileged, self-indulgent and middle-class.[3] This perception was in sharp contrast with both the bands who formed the wave of newly commercialized grunge music which was making its way across the Atlantic, as well as those bands who formed the foundation of Britpop, such as Pulp, Oasis, Blur and Suede.[24] Britpop also offered intelligible lyrics, often about the trials and tribulations of working-class life; this was a stark contrast to the "vocals as an instrument" approach of shoegaze, which often prized the melodic contribution of vocals over their lyrical depth.

Many shoegaze bands would either disband or change their sound during the mid-1990s. Ride disbanded before the release of their fourth album, Tarantula, which would shift to a more contemporary alternative rock sound. Slowdive's third album, Pygmalion, would shift to a more experimental sound that was stylistically closer to post-rock than shoegaze. Slowdive would be dropped from Creation Records just a week after Pygmalion's release,[109] and Tarantula would also be deleted from their catalogue a week after its release.[110]

Lush's final album, Lovelife, was an abrupt shift from shoegaze to Britpop, which alienated many fans; the 1996 suicide of their drummer Chris Acland signaled Lush's dissolution. Following a long gap from My Bloody Valentine since Loveless, aside from their 2008 reunion tour, the band released m b v in February 2013. Shields explained their silence by noting, "I never could be bothered to make another record unless I was really excited by it".[111]

Mid 1990s–2000s: Proliferation

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See also: Nu gaze, Blackgaze, and Shitgaze
Deafheaven brought blackgaze, a black metal and shoegaze fusion genre, to prominence with the 2013 album Sunbather.

Several former members of shoegaze bands later moved towards dream pop, post-rock and the more electronica-based trip hop.[24] Neil Halstead, Rachel Goswell and Ian McCutcheon of Slowdive would form Mojave 3, while guitarist Christian Savill would form Monster Movie. Adam Franklin of Swervedriver released lo-fi albums under the moniker Toshack Highway.[112] The use of electronic dance and ambient elements by bands such as Slowdive and Seefeel paved the way for later developments in post-rock and electronica.[3]

While shoegaze briefly flared and then faded out in the UK, the bands of the initial wave had an immense impact on the development of regional underground and college rock scenes in the US.[113] In particular, a Lush and Ride tour of the US in 1991[114] directly inspired the spawning of American shoegaze groups including Drop Nineteens, Half String[115] and Ozean.[116] Columnist Emma Sailor of KRUI in Iowa City opines:

The insularity and introversion of British shoegaze was an intention[al] backlash against their country's mainstream. But when the shoegaze sound was exported to America, it arrived unattached from the cultural context that originally prompted its gloomy moods. The result? American indie bands gave shoegaze an entirely new image. Where the sound once was tightly linked with introversion, it was now attached to summery, outward looking songs with a focus on celebrating youth.[117]

About DC-based Velocity Girl's 1991 single "My Forgotten Favorite", Sailor goes on to note, "Could anything be more different—and yet so similar—to [Slowdive]? The hazy [production] and dreamy, high pitched female vocals are there, but the outlook is entirely different".

Starflyer 59 made shoegaze immediately accessible within evangelical Christian communities throughout the United States.[118]

During the mid 1990s, emerging American Christian rock label Tooth & Nail Records signed Starflyer 59 as one of its first acts. Band frontman Jason Martin, having been inspired by acts like The Cure, The Smiths, Black Sabbath, and Deep Purple,[119] led Starflyer 59 to exhibit strong shoegaze influence with its first three projects, all featuring monochromatic cover art: Silver,[a] Gold,[b] and Americana. Despite the chaotic production process of Gold and Martin's dissatisfaction with the album, Gold went on to reach nearly triple the sales of Silver,[120] along with becoming a hallmark of the shoegaze genre, reaching number 41 on Pitchfork's 50 Best Shoegaze Albums of All Time list.[121] Starflyer 59 would later depart from its shoegaze sound, shifting between softer indie rock and modern alternative rock. Although, 2004 studio album I Am the Portuguese Blues features a harder alternative rock sound reminiscient of Starflyer's original shoegaze era. It contains a large portion of fully redeveloped demo work recorded between Americana and following pop rock-oriented album The Fashion Focus.[122] In 2024, Starflyer 59 released its seventeenth studio album Lust for Gold, designed as a modern, refined tribute to its shoegaze era.

A resurgence of the genre began in the late 1990s (particularly in the United States) and the early 2000s, that helped usher in what is now referred to as the "nu gaze" era.[24][123] Also various heavy metal acts were inspired by shoegaze, which contributed to the emergence of post-metal and metalgaze styles.[124][125] Particularly in the mid-2000s, French black metal acts Alcest and Amesoeurs began incorporating shoegaze elements into their sound, pioneering the blackgaze genre.[126] The term shitgaze,[127] a microgenre that further developed in the mid-2000s, was originally coined by the Midwestern rock band Psychedelic Horseshit to describe their style of music, with the label becoming one of the earliest examples of an internet microgenre, and later appropriated by wider online music critics and blogs. Notable acts in the scene include the Hospitals, No Age,[128] Times New Viking,[129] and early Wavves.[130][131][132] Shoegaze would also influence microgenres such as witch house and indie surf.[133][134]

2010s–2020s: Revival

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In eastern Asia the genre has become increasingly popular with bands such as Cocteau Twins influencing the creation of new "art school" shoegaze.[18] Bands like Tokyo Shoegazer and For Tracy Hyde have increasingly adopted western elements, with some bands combining Indie music with shoegaze and psychedelic rock.[135] Further, since the late 2010s, some artists began prominently incorporating emo themes into shoegaze, with albums like Weatherday's Come In (2019) and Parannoul's To See the Next Part of the Dream (2021) being examples.[136][137]

In the early 2020s, shoegaze experienced a revival among Generation Z, through internet spaces such as TikTok, with newer bands like Julie, Wisp and Fleshwater as well as an influence on digicore artists like Quannnic and Jane Remover. Multiple outlets described this as shoegaze's "revival" or "resurrection".[138][139][140][141] Irish band Fontaines D.C. have commented on shoegaze influences in their sound, particularly My Bloody Valentine; their fourth album Romance was particularly noted for this sound by reviewers.[142][143][144]

See also

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Notes

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  1. ^ Silver was companioned by the following She's the Queen EP, which was included as bonus tracks on its 2005 extended, remastered edition.
  2. ^ Gold was companioned by the following Goodbyes Are Sad 7-inch single and Le Vainqueur EP, which were both included as bonus tracks on its 2005 extended, remastered edition.

References

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  1. ^ a b c d e "Shoegaze". AllMusic. Retrieved 20 October 2025.
  2. ^ a b Reynolds, Simon (1 December 1991). "Pop View; 'Dream-Pop' Bands Define the Times in Britain". The New York Times. Archived from the original on 2 September 2020. Retrieved 7 March 2010.
  3. ^ a b c d e f g h i Sisson, Patrick (6 January 2009). "Vapour Trails: Revisiting Shoegaze". XLR8R. Retrieved 20 October 2025.
  4. ^ Richardson, Mark (11 May 2012). "My Bloody Valentine: Isn't Anything / Loveless / EPs 1988–1991". Pitchfork. Archived from the original on 17 April 2015. Retrieved 17 April 2015.
  5. ^ "Noise Pop : Significant Albums, Artists and Songs, Most Viewed: AllMusic". AllMusic. 2 June 2012. Archived from the original on 2 June 2012.
  6. ^ a b Heller, Jason. "Where to start with the enigmatic music known as shoegaze". The A.V. Club. Archived from the original on 30 October 2016. Retrieved 9 August 2016.
  7. ^ Lyons, Patrick (11 August 2021). "The Heavy Music To Shoegaze Pipeline". Stereogum. Archived from the original on 28 November 2021. Retrieved 31 December 2024.
  8. ^ Olivier Bernard: Anthologie de l'ambient, Camion Blanc, 2013, ISBN 2-357-794151
    « L'ethereal wave (et notamment les Cocteau Twins) a grandement influencé le shoegaze et la dream pop. »
  9. ^ "Space Rock : Allmusic". AllMusic. Archived from the original on 29 March 2019. Retrieved 5 March 2019.
  10. ^ Lindsay, Cam (31 January 2011). "The Translator - Witch House". Exclaim.ca. Archived from the original on 22 April 2016. Retrieved 20 July 2011.
  11. ^ Lesuer, Mike (22 August 2023). "I Miss Shitgaze, Man". FLOOD Magazine. Retrieved 12 October 2025. shitgaze": a rough take on shoegaze where rather than 90 percent of the track being swallowed up by dense reverb, that percentage was instead reserved for ear-splitting lo-fi noise, tape hiss, and, occasionally, campy vocals shouting things like "welcome to hell, puker corpse!
  12. ^ a b c "The 50 Best Shoegaze Albums of All Time". Pitchfork. 24 October 2016. Archived from the original on 12 November 2016. Retrieved 21 April 2025.
  13. ^ Rothman, Joshua (28 August 2015). "T. S. Eliot Would Have Liked Beach House". The New Yorker. Archived from the original on 5 March 2021. Retrieved 16 June 2021.
  14. ^ "Shoegaze / Dream Pop". MuzPlay. 17 December 2020. Retrieved 12 October 2025. In a brief and simple way, shoegaze presents a harsher sound, in which the ethereal vocals are buried under layers of guitars, creating nebulous songs. In dream pop, there is more clarity in vocals and melodies, with soft sonorous textures that evoke dreams.
  15. ^ Earles, Andrew (2014). Gimme Indie Rock. Voyager Press. p. 189.
  16. ^ a b c d Smith, Zac (3 July 2017). "The Role of Phonesthemes in Shoegaze Naming Conventions". Names. 65 (3): 143–153. doi:10.1080/00277738.2017.1304105. ISSN 1756-2279. Archived from the original on 8 July 2025. Retrieved 8 July 2025.
  17. ^ DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. p. 488. ISBN 978-0-634-05548-5.
  18. ^ a b Haman, Brian (13 September 2017). "'A language we use to say sentimental things': how shoegaze took over Asia". The Guardian. Archived from the original on 29 July 2023. Retrieved 30 May 2022.
  19. ^ Pinkard 2024, p. 15.
  20. ^ Pinkard 2024, p. 16.
  21. ^ Green, Eric (2014). Beautiful Noise (film). United States: HypFilms.
  22. ^ Pitchfork (24 October 2016). "The 50 Best Shoegaze Albums of All Time". Pitchfork. Archived from the original on 12 November 2016. Retrieved 21 April 2025.
  23. ^ Cohen, Finn (14 August 2017). "Shoegaze, the Sound of Protest Shrouded in Guitar Fuzz, Returns". The New York Times. Archived from the original on 18 December 2019. Retrieved 17 December 2019.
  24. ^ a b c d e Rogers, Jude (27 July 2007). "Diamond gazers". The Guardian. London. Archived from the original on 7 March 2017. Retrieved 13 May 2012.
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  29. ^ Pinkard 2024, p. 17: "...the first wave of shoegazers all drew from the same core influences. Specifically, there was a rediscovery of the psychedelic pop of the Beatles, the Beach Boys and the Byrds."
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  35. ^ Kaldy, Dana (29 April 2018). "The Wall of Sound". Got A Million Rhymes. Retrieved 12 October 2025. Shoegaze is inspired by Phil Spector's wall of sound, stemming from the aspect of overwhelming sound on a song's tracks.
  36. ^ Pinkard 2024, p. 18: "Adam Franklin (Swervedriver): I feel like the template for shoegaze is probably 'Tomorrow Never Knows' by the Beatles. Surely that's the first shoegaze song, with all those samples and weird horn sounds that are being spliced together."
  37. ^ Allen, Jim (20 June 2024). "How The Beach Boys Became The Godfathers Of Dream Pop". uDiscoverMusic. Retrieved 12 October 2025. This is where the dream pop family tree starts to come into focus. The further you dive into this period in the Beach Boys' development, the more connections you start to see in all the groups that followed them.
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  45. ^ Pritchard 2023: "Developed from The Velvet Underground's noisy garage rock, Cocteau Twins' dreamy, ethereal pop music and The Cure's gothic, textured sound from the early 1980s, shoegaze grew from a myriad of sounds and artists.
  46. ^ Cardew, Ben (5 January 2016). "25 Years After Its Imperial Phase: Who Killed Shoegaze?". The Quietus. Archived from the original on 5 April 2024. Retrieved 30 October 2025.
  47. ^ Pinkard 2024, p. 20: "...with their 1982 debut on 4AD, Garlands, Scottish trio the Cocteau Twins had a keystone influence on what became shoegaze."
  48. ^ Pinkard 2024, p. 20
  49. ^ Parys, Bryan (13 September 2019). "Shoegaze Music: 17 Songs That Chart the Genre's History—and Its Future". Berklee College of Music. Archived from the original on 30 October 2025. Retrieved 31 October 2025. While they are often described as shoegaze, the term didn't exist ... but for many, the Jesus and Mary Chain is where the genre broke ground.
  50. ^ Provis 2018, « Les racines du mouvement » : « Les Jesus And Mary Chain ont eu une influence énorme sur le son de My Bloody Valentine et ce qui est connu maintenant sous le nom de scène shoegaze. Je pense même que My Bloody Valentine a changé leur style à cause de Jesus And Mary Chain » admet Alan McGee. »
  51. ^ Pinkard 2024, p. 22
  52. ^ Pinkard 2024, p. 22–23: Sonic Boom: "Spacemen 3 could be called a shoegaze band by the fact that we did not have any stage moves. We were always the anti-performers like that. It was all about the sound we were trying to create and not how we were trying to look."
  53. ^ Pinkard 2024, p. 23: "...the shoegazers were also looking across the Atlantic to American indie rockers like Sonic Youth, Dinosaur Jr., and Hüsker Dü."
  54. ^ Parkes, Taylor (10 May 2012). ""Not Doing Things Is Soul Destroying" - Kevin Shields Of MBV Interviewed". The Quietus. Archived from the original on 2 October 2025. Retrieved 11 May 2024. Then when Bilinda joined, around that 86-87 period, we were getting into Husker Du, Dinosaur Jr, Sister and EVOL by Sonic Youth…
  55. ^ Pinkard 2024, p. 24–25
  56. ^ Pinkard 2024, p. 65
  57. ^ Pinkard 2024, p. 65: "...both releases were quickly acclaimed by the UK press and both hit number 3 on the UK Indie Chart."
  58. ^ Pinkard 2024, p. 65: "In a live review of the gig for Melody Maker, Dave Simpson was less than impressed with either hyped outfit, especially young Lush..."
  59. ^ Pinkard 2024, p. 66
  60. ^ Pinkard 2024, p. 66: "Ride are almost too perfect, too great to be true," wrote Chris Roberts in a two-page spread in Melody Maker. "This is the only criticism I can make of their astonishing debut EP."
  61. ^ Pinkard 2024, p. 69–70: "...which they followed up a month later with their monumental full-length, Nowhere, both of which the NMEs Roger Morton compared to the first two EPs by saying, "The songs are deeper, larger in scale and mostly less dirty sounding, but the balance of noise and melody, nihilism and amazement, is perfectly preserved."
  62. ^ Pinkard 2024, p. 71
  63. ^ Pinkard 2024, p. 67: "...it's a brilliant stepping stone between the dream pop of the Cocteau Twins and the more violent sounds of shoegaze to come..."
  64. ^ Pinkard 2024, p. 67: "In a February feature story for Melody Maker, Steve Sutherland hailed Mad Love as "a beautiful, primitive record"..."
  65. ^ Pinkard 2024, p. 68: "..."Soon"—which Brian Eno would famously call "the vaguest music ever to have been a hit" after it reached number 2 on the UK Indie Chart..."
  66. ^ Pinkard 2024, p. 73
  67. ^ Pinkard 2024, p. 69: "Though little-noticed by the press ... it got them briefly signed to the soon-to-fail (and subsequently revived) Rough Trade Records, before eventually being scooped up by Creation."
  68. ^ Pinkard 2024, p. 69: "In September, after three years of patiently gigging around London, Chapterhouse made their belated debut with the Freefall EP, featuring the hypnotic opener "Falling Down."
  69. ^ Pinkard 2024, p. 73: "...heavenly title track represents a high watermark of shoegaze's pop potential—even if Melody Maker thought it was "sorely over-produced."
  70. ^ Pinkard 2024, p. 73
  71. ^ Pinkard 2024, p. 74
  72. ^ Pinkard 2024, p. 74: "...in year-end critics poll, only Nowhere placed in their Top 30 albums of 1990 (#20), while their year-end list of singles included My Bloody Valentine's Glider EP (#5), Ride's Fall EP (#7), and Lush's Mad Love EP (#19)."
  73. ^ Pinkard 2024, p. 37: "One theme that helped the press justify grouping the shoegaze bands together was the fact that many of them came from the Thames Valley, a region immediately west of London that includes the towns of Oxford—home of Ride and Swervedriver—and Reading—birthplace of Chapterhouse and Slowdive."
  74. ^ Pinkard 2024, p. 5: "After peaking in the early '90s, the original shoegaze scene—which included core acts Ride, Slowdive, Lush, Chapterhouse, Swervedriver, and Moose..."
  75. ^ Pinkard 2024, p. 37: "...the band that forged the genre's most supreme document, 1991's Loveless. Yet at the time, they were not part of the shoegaze scene so much as the progenitors of it."
  76. ^ Pinkard 2024, p. 53: "For the young shoegazers, two labels—Creation Records and 4AD—were more desirable than the rest, and thus became the labels associated with the shoegaze movement."
  77. ^ Pinkard 2024, p. 78: Neil Halstead (Slowdive): "It was a genuinely supportive scene. All the bands would try and support the other bands and be at their gigs and talk about them in interviews. It was a nice thing that the music press took the piss out of."
  78. ^ Pinkard 2024, p. 76: "...well-known meeting points were Syndrome, a weekly indie music club hosted in a basement bar in Oxford Street, and venues like the Camden Falcon, the Borderline, the Powerhaus, and the Underworld. Outside of London, the shoegazers also found themselves being booked on tours with each other. When the music papers inevitably took note, it was only a matter of time before it was given a name and sensationalized."
  79. ^ Provis 2018, « The Scene That Celebrates Itself » : « Tout a commencé lors du rapport d'un concert de Moose le 8 juin 1991 par Steve Sutherland. Étaient donc présents ce jour au Camden Falcon : « Damon de Blur, Miki de Lush, Andrew de Chapterhouse, Mark de Ride… ».
  80. ^ Provis 2018, « The Scene That Celebrates Itself » : « Le journaliste a davantage été surpris par le public que par ce qu'il se passait réellement sur scène: en effet, tous les autres groupes pratiquant à peu près le même style que Moose se tenaient dans la fosse pour les applaudir ! »
  81. ^ Pinkard 2024, p. 77: Steve Sutherland (Editor, NME & Melody Maker): "...it's interpreted as a snarky critique. But it wasn't! It just captured my feeling that every time you went to see these bands, all the other bands were there, which was very unusual then."
  82. ^ Pinkard 2024, p. 104: Nathaniel Cramp (Label Head, Sonic Cathedral): "The truth of the matter is that a lot of music journalists who were working at NME were posh and middle class themselves. When I was there, there were loads of people that were from Oxford University and places like that, so it's almost like a weird self-loathing thing where they fetishized a working-class band like Oasis over people that were more like themselves."
  83. ^ Provis 2018, « The Scene That Celebrates Itself » : « On a fini par caricaturer le musicien shoegaze, l’étudiant alpha, « le petit gringalet, fan de John Keats, étudiant de premier cycle issu de la classe moyenne, fils à maman qui s'appelle Quentin, avec de l'acné, un tee-shirt passé à la javel aux cercles bleus et blancs, et qui possède un exemplaire du Isn’t Anything de My Bloody Valentine sous le bras »
  84. ^ Provis 2018, « The Scene That Celebrates Itself » : « ...Kevin McKillop et Russell Yates, tous deux déjà trentenaires et ayant bourlingué entre ... et passages intermittents au sein de groupes (See See Rider pour Russell et Stereolab pour Kevin), fondent leur propre groupe en 1990 à Londres. »
  85. ^ Provis 2018, « The Scene That Celebrates Itself » : « ...Lætitia Sadier de Stereolab a chanté pour Moose au cours des Peel Sessions... »
  86. ^ Bowman, Jamie (30 August 2016). "Cult heroes: Thousand Yard Stare – Slough's indefatigable jacks of all trades". The Guardian. Retrieved 22 October 2025. ...before their Thames Valley origins saw them become shoegazers by association.
  87. ^ Provis 2018, « The Scene That Celebrates Itself » : « ...Revolver a fait les premières parties de Chapterhouse ou Slowdive... »
  88. ^ Pinkard 2024, p. 78: "...you have our core group of shoegazers: Slowdive, Ride, Swervedriver, Chapterhouse, Lush, and Moose. But beyond them, The Scene also included the likes of avant-pop group Stereolab — who often swapped members with Moose and lesser-known noise act Th' Faith Healers — and a young Blur."
  89. ^ Pinkard 2024, p. 78: "Also frequently lumped in by the press were shoegazey bands like Catherine Wheel, Curve, Cranes, Silverfish, and Pale Saints, whether or not they had any meaningful connection to the London club scene."
  90. ^ Provis 2018, « The Scene That Celebrates Itself » : « On note une légère influence du shoegaze sur leur premier single « She's So High » en 1991. »
  91. ^ Provis 2018, « The Scene That Celebrates Itself » : « ...il déclare dans les interviews : « On n’a jamais fait partie de cette scène. Notre rapprochement est juste lié au fait qu'on y connaît pas mal de musiciens. Avant d'être reconnu par le NME ou le Melody Maker, on commence par parler aux groupes dans la même situation. »
  92. ^ Provis 2018, « The Scene That Celebrates Itself » : « La légende veut que le terme shoegaze fût inventé par Andy Ross, ni plus ni moins que le manager de Blur, et ce, afin de ridiculiser les concurrents. »
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  94. ^ Pinkard 2024, p. 84: Steve Queralt (Ride): "Traditionally, you would go on Top of the Pops ... [and] you would find yourself at a higher position the next week. But when we did Top of the Pops, we immediately bombed out of the charts the following week, because the masses weren't interested in listening to our music."
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  99. ^ Provis 2018, « Curve » : « ...Blindfold EP sort bien en mars 1991, imposant un mélange improbable techno / dreampop. »
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  101. ^ Pinkard 2024, p. 86: "...Yerself Is Steam, an early example of shoegaze's distinct guitar noise seeping into the American indie rock landscape.
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Sources

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