BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

The first album from New York-based darkwave duo R. Missing.

Sharon Shy and Toppy Frost, formerly of the indie rock duo The Ropes, formed R. Missing to explore a more electronic sound. Following their 2017 six-track debut EP Unsummering and several subsequent singles, this release marks their first full-length album.

Mechanical, clockwork-like beats, strobing synths that flash like signals, and vocals that drift coolly like wind between city buildings converge to create somber dance tracks that vividly convey themes of solitude and loss. While listeners may draw comparisons to Chromatics or Trevor Something, R. Missing favors a simpler, more minimal approach, maintaining a detached, emotion-stripped aesthetic throughout. Experiencing the previously released singles together in album form highlights the strength of the material, demonstrating that even in a singles-driven strategy, the songs reward extended listening.

According to interviews, the “R” in R. Missing stands for a word meaning “unknowable,” with no relation to the 18th letter of the alphabet, though it may subtly reference their former band, The Ropes. The Ropes, a dream pop project with echoes of The Cure, may be of interest to listeners exploring that catalog.

‍The Ropes – Bandcamp

The second EP from LA-based darkwave / shoegaze band past self, who identify with “k-goth” (Korean gothic).

The trio—Sung (guitar/vocals), æther (synth), and Spektor (bass)—draws heavily on The Cure, Molchat Doma, and Slowdive, blending ’80s goth and post-punk foundations with shimmering guitars and synths to create an elegant, ethereal sound. Building on their debut EP, Sung incorporates Korean-language lyrics, giving the band a distinctive originality that sets them apart from typical gothic acts. The interspersed Korean lines in this EP add a haunting quality, evoking a deep, unsettling darkness reminiscent of Korea’s reputation for intense horror aesthetics.

This release marks their darkest work yet, though with one track serving as an intro, the overall runtime feels slightly short. Still, it leaves plenty of momentum for anticipation of a full-length album. Visuals are also striking, with the band performing in white robes, faces painted white, and eyes obscured by red bands—an unusual and memorable look.

Live, past self has shared stages with notable acts such as Mareux, Twin Tribes, and Drab Majesty, and fans can hope to see them perform in Japan someday.

The second EP from Russian shoegaze band Life on Venus.

Formed in Moscow in 2015, Life on Venus initially began as a four-piece before expanding to five members during the recording of their debut album. By the time of the third album “Homewards,” the lineup had settled into a trio consisting of Dmitry Kostryukov (vocals/bass), Oleg Kopytin (guitar), and Gulnara Tukshaitova (drums).

The band first came to wider attention with their debut EP “Departure.” Its opening track, #1 “What Lies Beneath,” left a strong impression with its anguished melodic arc and crushing waves of distortion. Although the song was later re-recorded for the second album, the EP version—with its rougher, less polished sound—arguably conveys a sharper sense of pain and immediacy. That preference may well be shaped by familiarity, but the emotional impact remains difficult to ignore.

On this second EP, the group’s defining melancholic sensibility is firmly intact. Fragile arpeggios, reminiscent of the band’s oft-cited admiration for Slowdive, cascade through the mix as Kostryukov’s delicate vocals echo with a restrained sense of sorrow. Together, they form soundscapes that evoke images of night and winter, cold yet quietly luminous.

At moments, the music suggests an image somewhere between a lost version of The Daysleepers wandering a midnight snowfield and a shoegaze-inflected reimagining of The Cure’s “Disintegration.” At the same time, the EP incorporates a weight and density that aligns it with more recent strains of heavy “newgaze.” The balance between fragility and force feels carefully judged, leaving little sense of excess or compromise.

As a result, this release can be seen as one of the more compelling modern expressions of dark shoegaze. Listeners drawn to acts such as Whirr, Last Leaf Down, or Holy Fawn are likely to find much to appreciate here.

The debut EP from Tokyo-based nightmare pop band sadchelsea.

I first encountered sadchelsea through a demo of burning up the hill uploaded to SoundCloud. Its dark shoegaze sound, wrapped in a seductive goth-like mood, immediately captivated me. Their long-awaited debut opens with the waltz-like instrumental #1 “666,” evoking the atmosphere of a horror film and setting the tone for the EP’s dark, nightmarish pop sound. The band combines catchy melodies with a poisonous edge, drawing inspiration from artists such as Tommy heavenly6, Shiina Ringo, Anna Tsuchiya, and ART-SCHOOL, while powering the engine of goth and visual kei aesthetics. The result is like a luminous flower blooming in darkness—beautiful yet dangerous, irresistibly captivating.

A personal favorite, #4 Kyuaidoukouhansha, begins with a smooth lead guitar melody, weaves dreamy arpeggios through the B section, and erupts into a chorus of melancholy. The decadent lyrics and layered instrumentation condense the band’s appeal into a single, striking track. Fans of dream pop and shoegaze will find much to enjoy.

Though the EP’s four tracks are relatively restrained in shoegaze elements, several—including burning up the hill—have only been performed live so far, hinting at more hidden material. Anticipation for their next release is high.

The fourth album from US shoegaze / dream pop band Whirr.

Based in Modesto, California, Whirr returned with their first full-length release in five years, unveiled as a surprise drop on Christmas Day. As with the previous album, the release initially appeared as a Bandcamp exclusive, before becoming available on streaming platforms on January 21, 2025.

Judging from the blue-toned artwork that echoes “Feels Like You,” one might expect a similarly mellow direction. Instead, the album marks a notable return of the glacial chill associated with “Sway.” Guitars that embed crystalline shimmer within dense noise cut sharply through the mix, like winds sweeping across a frozen plain, while soft, whispering vocals move in to gently soothe the resulting wounds. This interplay between abrasion and tenderness forms a melancholic tension that has long defined Whirr’s appeal.

The closing track, #10 “Enjoy Everything,” serves as a particularly striking finale. Against a backdrop that sparkles like diamond dust, a weeping trumpet line emerges, heightening the sense of fragile beauty and emotional release. It is a moment that encapsulates the album’s atmosphere with remarkable clarity.

Taken as a whole, the record maintains an exceptionally high level of consistency, with each track contributing meaningfully to the overall arc. For long-time listeners, it stands as a deeply satisfying return and, for many, an ideal kind of holiday surprise. It is also worth noting that Wisp—who has frequently cited Whirr as a formative influence—celebrated the release enthusiastically on social media, underscoring the band’s continued resonance within the current shoegaze landscape.

Before settling on any year-end rankings, this album merits careful attention. It reaffirms Whirr’s distinctive voice and suggests that their impact remains very much intact.