The genre rediscovery via TikTok during the first stages of the pandemic has been going on long enough that we might consider it a Shoegaze Revival Revival.
Channeling For Against and classic Stone Roses, Healees’ Coin de l’œil fuses jangle, shoegaze, and power pop into something beyond those genres.
The Loudest Band in the World, A Place to Bury Strangers, draw from seminal, post-punk influences while taking things to new places on Synthesizer.
Detroit’s Clinic Stars draw you into their gauzy, poetic interior world and weave a cozy afghan of 1990s slowcore and dream pop on their debut LP, Only Hinting.
With Up on the Hill, Otis Shanty have taken the guitar-based, dream pop template and reinvented it beautifully for a new era.
Wishy’s debut LP reflects a band figuring out their style early in their career, but the strength of this album is likely to catapult them into indie stardom.
On Vertigo, psychedelic rockers Wand distill hours of material and add ornamentation to tracks that regularly favor mood over moments of grandeur.
DIIV’s Frog in Boiling Water aspires to be a statement album, reflecting our zeitgeist of right-wing extremism, global conflict, and environmental collapse.
Ride continue their second phase with ‘Interplay’, an album full of melodic atmosphere lacking some of the creative yearning heard in their earlier work.
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Delayed a year due to Covid, the 30th anniversary re-release of In Ribbons by Pale Saints last October is a reminder of how expansive shoegaze can be.
Deafheaven’s Sunbather was the first time a black metal act broke through the clutter of heavy metal releases to be appreciated outside of the genre’s fans.
