BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

Debut album from Minneapolis-based shoegaze band Prize Horse.

The trio—Jake Beitel (Gt/Vo), Jon Brenner (Dr), and Olivia Johnson (Ba)—crafted this release with mixing, mastering, and production handled by Corey Coffman of Gleemer.

The sound unfolds in a downtempo, contemplative manner, evoking slowcore and sadcore sensibilities. It’s the perfect companion for those sinking into melancholic moods. Best enjoyed alone, in a room filled with quiet sighs.

Debut album from Nagoya-based shoegaze/dream-pop band Blurred City Lights.

Ethereal vocals and hauntingly beautiful guitars conjure an endlessly blue, translucent dreamscape. Heart-wrenching melodies gently wrap weary, wounded hearts in solace.

The album’s structure—moving from loss toward light—and its alternating perspectives (I/you, watashi/anata) will likely resonate with fans of ’90s–’00s emotional visual novels and “sekai-kei” stories (myself included). The closing track, citylights, delivers lines like “Nothing to be afraid of” and “I’m coming to you,” and I couldn’t help but break into tears.

The artwork, featuring an angel gazing pensively over the city (created by Ba/Vo Kamiya), perfectly complements the music. At first glance, it evoked Haibane Renmei and Wings of Desire, but after listening, it seamlessly fits both worlds—a pleasant surprise.

I’d love to spend an hour discussing the stories everyone has woven onto this album. And now—let’s meet at the live house and shake hands!

Kyoto-based rock band nim return with their third EP, an ambitious release that clearly leans into a crossover between emo and shoegaze.

The most striking shift appears on track #2 “Mushy”. Its soft, reverb-drenched soundscape and beautifully balanced male–female twin vocals carry a pure shoegaze lineage.

Tracks #3 “Will be gray,” and #4 “Alchemista,” are also standouts, slowly weaving melancholy through post-rock-informed arrangements. On “Alchemista,” guitarist/vocalist Hisana delivers Japanese vocals that feel refreshingly fragile—evoking a more ephemeral take on Tomoko Kawase of the brilliant green.

Hisana also operates a solo project, appi, which explores dream pop and shoegaze territory and is well worth checking out. Interestingly, while nim moves closer to shoegaze here, appi shifts in the opposite direction—evolving from a heavier, more melancholic previous release toward a softer sound reminiscent of beabadoobee.

It may even be a conscious rebalancing between the two projects, which only adds another layer of intrigue to nim’s current evolution.

The debut album from New York shoegaze band Velvet.

The album was mastered by Nick Bassett of Whirr. Featuring heavy guitars and sweet, emotive vocals, it focuses on the romantic dynamics between two people in love. #2 “Skin,” featuring Blossom from San Diego, stands out for its rich, reverb-laden sound, while the title track, #8, immerses the listener in a slow-tempo, love-filled atmosphere.

In a scene increasingly dominated by self-punishing or pessimistic lyrics, Velvet’s direct expression of affection feels refreshingly candid. Subsequent singles and EPs suggest further artistic evolution, positioning the band as one of the brightest emerging talents. Collaborations with Blood Pact are also noteworthy, and exploring these releases together is highly recommended.

Notably, the album track “Staring” was later re-released featuring Wisp’s vocalist, though that version was eventually withdrawn; a single featuring Easterlin was released instead. Dedicated Wisp fans may still be able to find the original version on certain video platforms.

Second EP from Toronto-based shoegaze band the neverminds.

Following their previous release, "the summer", this EP is titled "the winter" and marks a shift toward a colder, more melancholic sound. The noisy textures feel like a freezing blizzard, which only adds to the appeal.

"Haunt Me" features a frenzied, desperate phrase, "please haunt me die...", that resonates through the wall of sound, making it a strong contender for one of this year’s best tracks. The outro, blending sorrow and resignation, is deeply moving.

Their collaboration with twinotter, the single "the snow will catch us once again", is also fantastic and highly recommended.

Second album from Australia-based blackgaze/post-rock band Suldusk.

Unlike artists such as Myrkur or Sylvaine, who separate their extreme and folk influences into distinct releases, Suldusk alternates between traditional/folk and blackgaze passages, creating a striking contrast of beauty and brutality. The title track exemplifies this approach, shifting seamlessly between delicate, string-laden folk sections and blast-beat-driven onslaughts.

Having moved from Northern Silence Productions to major label Napalm Records, the production quality has been significantly enhanced. This album has undoubtedly positioned them as a standout act in the scene. With live shows reportedly active, a Japanese tour would be eagerly anticipated.

This is the second album from Italian darkwave trio Silentways, and their first release since reuniting as a three-piece in 2022. After the release of their self-titled debut, the band briefly disbanded, making this album an important turning point in their trajectory.

While the previous record drew attention for its crossover between darkwave and dream pop, this new album appears to push decisively deeper into darker territory, incorporating pronounced coldwave elements. The rigid pulse of the drum machine, paired with a bassline that throbs insistently like a heartbeat, creates a soundscape that feels as though it is pressing forward through a cold, lightless cavern. The band has mentioned that their recent fascination with Twin Tribes played a role in this shift, and that influence can be felt in the album’s colder, more austere atmosphere.

That said, Silentways do not abandon their luminous side. The aurora-like shimmer of the guitars and the ethereal beauty of Annalisa Lynch’s vocals remain firmly intact, allowing the album to be appreciated just as fully from a dream pop perspective. In that sense, it reinforces the idea—already suggested by acts like The KVB, Seasurfer, and Magic Wands—that gothic lineages and dream pop continue to complement each other remarkably well.

The album is thematically centered on interpreting different perceptions of love. Among the tracks, the first single “A Red Thread” appears to focus on a transcendent form of love shaped by fate, symbolized by the mythic red thread. Listening while following the lyrics, it becomes clear that the song invites deeper interpretation—one that rewards careful attention to its words as much as its atmosphere.

Debut EP from Houston-based shoegaze band Ozurie.

Heavy guitars and languid vocals are blended over a slow, immersive tempo, evoking a resonance with Life on Venus and Wisp. Best experienced while gazing at a leaden sky with a sigh in hand.

It’s hard to comprehend that an EP of this quality only has double-digit views on YouTube.

Third album from Norfolk, Virginia–based shoegaze/slowcore band GONE.

Serving as part two of a planned trilogy, the album drifts over slow, languid beats, weaving melancholic melodies that inevitably instill a sense of solitude. Standout tracks include the sad, wandering “Crave”, evoking foggy marshlands, and “Pain”, which hints at ‘80s gothic rock influences.

All that’s known is that Deadlyswcct is a singer-songwriter reportedly based in Oklahoma, USA.

Within a foggy, melancholic atmosphere reminiscent of wandering through misty forests, heavy guitars intertwine with ennui-laden vocals in a truly mesmerizing way.

There are clear similarities to Wisp and Softcult, though occasional trap beats add a unique, unexpected flavor. The main drawback is that the releases are currently limited to YouTube and SoundCloud, making it a bit tricky to recommend widely. Here’s hoping for a full streaming release soon.