BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

The debut album from doomgaze band Softsun, featuring members from Norway and the United States.

The project began when Norwegian dronegaze maestro Pia Isaksen collaborated with Gary Arce of California desert rock legends Yawning Man on one of her solo works. That collaboration led to a natural creative alignment, with Isaksen traveling from Norway to California to complete this album alongside Arce and drummer Dan Joeright.

Throughout the record, Isaksen anchors the sound with bulldozer-heavy bass lines while delivering an ethereal, almost otherworldly vocal presence. Arce’s guitar work, by contrast, introduces a melodic sense of shimmer and levitation that leans firmly into shoegaze territory. Where Pia Isa’s solo work might evoke a mist-covered forest, Softsun suggests a vast desert landscape—windswept, desolate, and charged with motion. The listener is placed in the role of a traveler, wandering through darkness in search of light amid a raging sandstorm.

The closing track, #6 “Soft Sun,” offers a comparatively brighter moment, suggesting the storm’s end and the sun slowly emerging beyond the horizon. Heard in full, the album unfolds with the pacing and emotional weight of a feature-length film set in the desert, leaving a lingering sense of completion rather than simple catharsis. It stands as a particularly striking entry in this year’s doomgaze landscape.

Softsun’s momentum does not appear to be slowing. The band has already recorded several tracks for an upcoming split release with Yawning Man, with plans for a second album and live performances also underway. The transatlantic bond forged through a shared devotion to crushing volume and immersive atmosphere is one worth following closely.

The debut album from French coldwave band Urge.

Started by Adrien Broué (vocals) and Simon Chaubard (guitar) of the extreme metal band Plebeian Grandstand, the project expanded into a five-piece with Hugo Dupuis (drums), Clement Libes (bass/producer), and Mathieu Félix (guitar) to record this album.

Musically, Urge can be described as a hybrid of goth and shoegaze. Amidst a decadent, shadow-laden atmosphere, guitars shimmer like auroras, while vocals alternate between anguished wails and emotive passages, leaving deep traces of sorrow. The title track stands out as a highlight, unfolding into vast soundscapes that feel like burning meteors cascading across the earth.

The recent trend of metal musicians transitioning into goth and shoegaze is well exemplified here, and it is very welcome. Fans of House of Harm and Drab Majesty should definitely take note.

The debut album from Seattle-based solo project Painded Vein.

Painded Vein is the solo endeavor of multi-instrumentalist Andrea Fox Volpato, a musician with an extensive background that includes serving as lead guitarist and backing vocalist for Italian band New Candys, as well as co-producing, mixing, and recording work for gothic/shoegaze artist MØAA.

With the exception of a cover track, Andrea handles all songwriting, performance, production, and recording duties himself. As such, the album reads as a summation of a decade-long career rather than a tentative first statement. The decadent sensibility heard in his work with MØAA remains very much present here: pulsating bass lines and dimly lit guitar textures form the foundation, while Andrea’s restrained, gentle vocals add a pronounced sense of melancholy.

While rooted in dream pop and shoegaze, the album also appears well suited to listeners drawn to new wave and gothic rock, broadening its appeal beyond genre boundaries.

A particular highlight is the opening track, #1 “Lay down,” a melancholic piece that feels like sinking into emptiness while cradling fragments of a sweet dream. #2 “Where Is My Soul?” follows with a more up-tempo, driving rock approach, pairing a romantic melody with forward momentum; traces of Finnish acts such as HIM or To/Die/For can be subtly sensed in its tone.

#3 “Something In The Way” offers a cover of the Nirvana classic, reimagined with a more nocturnal and refined atmosphere—an interpretation that rewards comparison with the original. Later, #7 “Kick That Desire” features MØAA’s Jancy Buffington, whose ethereal vocals deepen the track’s otherworldly mood. In the outro, Andrea’s mantra-like spoken word echoes repeatedly, evoking the sensation of being drawn deeper into a dark forest.

Following the album’s release, Painded Vein reportedly toured across Italy. Taken as a whole, this debut establishes a fully formed artistic identity and suggests a project with considerable room to expand—particularly within the darker intersections of shoegaze and gothic music.

The debut EP from Chicago-based shoegaze band Bosses.

Formed in 2022 around Harlee Young (Gt/Vo), Bosses draw inspiration from ’90s alternative rock, citing bands such as Superheaven, Microwave, Nothing, and Bleed. The group describes their sound as “heavy shoegaze,” and the EP demonstrates a dense, powerful sonic approach comparable to those influences, while allowing Harlee’s vocals to maintain a distinct presence.

Harlee’s lower-register singing contributes a brooding, melancholic atmosphere that resonates with fans of darker-leaning vocalists like Slow Crush, Iress, and Graywave. While all tracks stand out, #4 “Transcendental” particularly captures the EP’s immersive, extended intensity.

Despite their brief two-year history, Bosses have already supported acts such as Soul Blind and Rezn, and are scheduled to perform alongside Sungaze in March. The band appears poised for further growth, making this a must-listen for heavy shoegaze enthusiasts.

The debut album from North Carolina–based solo artist Scarlet House.

Based in Charlotte, Scarlet House began releasing music in 2021 and has rapidly gained traction, particularly through TikTok, positioning himself as one of the more closely watched emerging names in the current wave of newgaze. His sound fuses heavy textures rooted in grunge and nu-metal with shoegaze atmospherics, while traces of hip-hop and R&B further broaden the palette—an approach that may remind listeners of acts such as Cold Gawd or Novulent.

Compared to those peers, the guitar tones here are somewhat drier and more restrained, but that choice works to highlight one of Scarlet House’s strongest assets: an emotive, glossy vocal presence. The contrast between weighty instrumentation and expressive vocals gives the material a sense of tension and clarity that carries much of the album’s impact.

While the record largely leans toward dense, heavy arrangements, #4 “Slowing Down” stands out as a welcome shift. With its reduced distortion and indie-pop leanings, the track functions as a moment of release within the tracklist. Its narrative-driven music video further reinforces its appeal and is well worth seeking out. Scarlet House - Slowing Down / Ghosts (Official Music Video)

The newly introduced tracks “Blind,” “Set Me Free,” and “Let Go” also suggest a step forward in sound design, with noticeably thicker layers and a more confident sense of production. In an increasingly crowded newgaze landscape, it remains to be seen whether Scarlet House will emerge alongside figures like Wisp or Novulent, but this debut makes a compelling case for his continued ascent.

The second album from Italian shoegaze band Mondaze.

Regarding the band’s origins, guitarist Margherita Mercatali has stated in interviews that she discovered shoegaze after seeing Nothing on their “Guilty of Everything” tour in 2014. Immersing herself in fuzz- and reverb-heavy experimentation, she eventually wrote what would become a defining track from the debut album, “Words Undone.”

To bring that song to life as a full band, members were gradually recruited: first Matteo Vandelli (Gt/Vo), followed by Michele Leonardi (Dr), and finally Lorenzo Capacci (Bass), forming the group’s current four-piece lineup. Incidentally, the name Mondaze is said to be slang for the familiar sense of Monday melancholy—a feeling that appears to resonate well beyond national borders.

Drawing from backgrounds in punk, metal, and grunge, the band cite influences such as The Smashing Pumpkins, Swervedriver, Ride, DIIV, Nothing, and Cloakroom. Positioning themselves explicitly as a “heavy shoegaze” act, Mondaze balance blizzard-like sheets of guitar noise with delicate, heat-haze vocals, resulting in a dense yet immersive listening experience. Equally crucial is the forceful drumming that anchors their massive sound.

That strength is most evident on the title track, #7 “Linger,” a high-speed rush where metal- and grunge-rooted drums generate overwhelming momentum, propelling the song forward with explosive energy. It is a moment that encapsulates the band’s core appeal.

While the album’s heaviness is beyond question, listeners approaching the record from a darker shoegaze perspective may find themselves wishing for more melancholic passages in the vein of #3 “Dusty Eyes” or #5 “Driving Out the Weeds.” Still, the direction established here suggests considerable potential, and anticipation for the next release remains well justified.

The debut EP from BLAKSWAN, a solo project by Matthew Bonder.

The project name is derived from Darren Aronofsky’s film Black Swan, a reference that hints at the darker psychological territory explored here. Bonder is also known as the drummer for the instrumental math / post-rock band Of Two Minds, but under the BLAKSWAN moniker he primarily operates within a hip-hop framework, positioning rap at the core of the EP.

What makes this release particularly notable, however, is the unexpected inclusion of a single shoegaze track amid the hip-hop material. That track is #5 “Stomach.” Described by Bonder himself as “Gothic Deftones” and “Dark Shoegaze,” the song immediately distinguishes itself from the surrounding tracks. Massive guitar riffs underpin a vocal performance charged with grief and anger, creating an emotional surge that feels both raw and overwhelming.

The track’s closing section is especially striking: pick scratches escalate tension before collapsing into a final chorus with remarkable cathartic force. Combined with its twilight-toned, decadently moody visuals, the song leaves a lasting impression that far exceeds its singular placement within the EP. It stands as a moment where BLAKSWAN’s aesthetic fully coheres, suggesting a direction with considerable expressive potential.

The remainder of the EP is largely rap-focused and leans toward an emo-rap sensibility, occasionally incorporating rock-inflected guitar textures. While those tracks fall outside a shoegaze-centered discussion, they nonetheless indicate a willingness to blur stylistic boundaries. Given the strength of “Stomach,” the possibility of further exploration into darker, guitar-driven territory remains an intriguing prospect.

For listeners attentive to the darker edges of shoegaze and its intersections with alternative and metal-adjacent forms, BLAKSWAN is a project worth keeping an eye on.

The second album from Michael’s solo project the deep sleep, who has previously been active with Concrete Twin, AiZA, and MIRA.

This release, titled after inspiration from Tite Kubo’s BLEACH, features guest musicians from the shoegaze scene and traverses a variety of genres while keeping shoegaze at its core. In progressive terms, it might be likened to The Alan Parsons Project or Ayreon, with a similarly expansive approach.

Highlights from the album, showcasing its melancholic sensibilities:

#3 “the heart” – Driving, chugging guitars meet Mochinaga (Fall of Tears / Neverlust)’s harsh vocals and poetry reading, creating one of the darkest moments on the album; likely to please fans of envy or Korn.

#4 “my beautiful boy part 2” – Features Jun Yokoe (PLASTICZOOMS) on bass; a shoegaze track with Eastern-inspired melodies and eruptive screams in the chorus.

#6 “love letter” – Combines Suzuka Yoshida (plums / fumi)’s plaintive vocals with icy guitars, evoking solitary winter landscapes.

#7 “a girl and a boy” – Shimmers like diamond dust; a dreamy shoegaze piece that culminates in swirling, beautiful walls of sound. Guest vocals by A-chan (Kinoko Teikoku) add extra intensity.

#9 “eternal sunshine of the spotless mind” – Features eureka (ferri-chrome / ex-For Tracy Hyde); her delicate voice pairs beautifully with the track’s melancholic atmosphere, a treat for fans of For Tracy Hyde’s “Frozen Beach.”

The album thrives on the chemistry generated by its guest musicians, resulting in a rich, immersive listening experience. Fans should also check out the deep sleep’s live performances, which are reportedly engaging—definitely worth experiencing in person.

The second album from Korean singer-songwriter project Meaningful Stone.

Led by Kim Tteutdol,  Meaningful Stone first gained wider recognition with the debut album “A Call from My Dream,” which won Best New Artist at the 2021 Korean Music Awards. That release centered on delicate, dreamy arrangements rooted in folk and bossa nova. On this second album, however, the project actively incorporates alternative rock elements, opening new ground in dream pop and shoegaze—most notably on #1 “Supernova” and #3 “Mikael.”

The latter stands out with a radiant, almost sacred glow, and its music video—defined by its sonic direction and angelic imagery—will likely resonate with listeners drawn to Wisp’s “Pandora.”

For those inclined toward darker shoegaze textures, #6 “I open the window instead of the closed door” offers a compelling counterpoint. Built on a slow tempo, the song patiently weaves melancholy into its structure, and its atmosphere appears to echo certain contemporary Nu-Gaze sensibilities.

Meanwhile, #7 “Red Car” leans toward a 1990s alternative rock/shoegaze hybrid, highlighting how the album varies its arrangements even within shoegaze-oriented tracks.

Finally, a Japanese CD release via P-VINE has been announced, signaling growing international interest. With that momentum, the prospect of live performances abroad feels increasingly realistic.

[Update: 8/14/2025]
Meaningful Stone’s first-ever Japan shows have now been officially announced.

The sixth album from Colorado-based shoegaze band gleemer.

gleemer began in 2011 as a solo project by Corey Coffman (Gt/Vo). Their acclaimed third album, Moving Away, was recorded with a full four-member lineup, but this latest release is self-produced by Corey Coffman and Charlie O’Neil (Dr/Ba/Gt), who also handled the mixing and mastering themselves.

Since their early days blending emo, dream pop, and shoegaze, the band has been cultivating a deeply introspective sound. On this album, that signature introspection appears to reach new depths, venturing into bedroom pop and slowcore territories. The soundscapes often dissolve into nocturnal shadows, offering a departure from traditional shoegaze textures—a shift that seems welcome for listeners attuned to the band’s evolving palette.

Standout track #7, “First Dream,” reportedly a favorite of Corey’s, showcases emotive, smooth vocals paired with acoustic guitar, conveying a gentle melancholy that seems to quietly soothe a heart worn by pain. Even in passages backed by more jagged guitars, the production maintains a sense of delicacy and dimensionality, highlighting Corey Coffman’s skill as an engineer. An ideal companion for solitary nights.