BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

Eighth album from UK coldwave duo The KVB.

Described by the band as “dystopian pop” this release pushes further into a darker, more desolate soundscape. Minimal beats create a stark sense of emptiness, while glossy vocals add contrast, and romantic guitar and synth lines drift through the mix like auroras. Their signature sense of decadence permeates the album from start to finish.

Compared to their earlier work, the shoegaze elements are more restrained, but the darkness is among their most pronounced to date. Fans of goth, industrial, and darkwave should consider this essential listening—highly recommended for followers of Dais Records as well.

For those craving heavier shoegaze textures, the duo’s second album Immaterial Visions remains a must. It stands as one of the finest examples of shoegaze and darkwave crossover in their catalog.

With that said, hopes are high for another Japan tour. Their first visit in 2019—featuring Dansa med dig and Luby Sparks as support—was unforgettable. Still, missing “Into Life” on the Only Now Forever tour setlist remains a lingering regret. Someone, please invite them back.

Debut EP from San Francisco, California–based artist Wisp (Natalie R Lu).

Wisp rose to prominence almost overnight with her first single, “Your Face.” At the time, Natalie R Lu was just 18 years old. She recorded vocals using Apple earbuds as a makeshift microphone over a track produced by grayskies, mixed everything on her phone, and uploaded the song to TikTok—where it quickly went viral. When the track was officially released on Spotify, it reached one million streams in roughly one month.

Even more remarkably, before releasing her second single, Wisp signed a deal with Interscope Records, the major label home to artists such as Billie Eilish and Lady Gaga. Her monthly Spotify listeners, which stood at 900,000 prior to that second release, surged to 1.96 million by October 2024, firmly cementing her popularity. Including this fairytale-like rise, Wisp can now be considered one of the defining figures in the current shoegaze scene.

The appeal of Wisp’s sound lies in the way her delicate, fragile vocals intertwine with massive, heavy guitar harmonies, creating a melancholic atmosphere that feels like slowly sinking underwater. Wisp has cited Whirr as her most beloved artist—she is such a devoted fan that she even uses the band’s name as her Instagram ID—and also names Cocteau Twins and Deftones among her key influences. The fusion of ethereal beauty and heaviness in her music clearly reflects their impact.

Incidentally, the heavy and melancholic style of shoegaze represented by Wisp is often described as “Nu-Gaze.” Originally coined during the shoegaze revival of the 2000s, the term has recently been redefined in the context of nu metal–influenced shoegaze, and it has generated a massive following, particularly on TikTok. These days, a quick scroll through TikTok is enough to uncover countless undiscovered gems not yet available on streaming platforms. It is no surprise that labels are keeping a close watch on TikTok in search of the next generation of stars.

That should be enough background—let’s move on to the music itself.

The EP opens with #1 “Pandora,” a heavy track produced by Kraus. Its dynamic structure builds a powerful sense of elevation, delivering a catharsis reminiscent of opening Pandora’s box. #2 “Your Face” and #3 “Enough for You” showcase shadowy melodies and sinking, hypnotic beats that strongly recall Whirr, standing as definitive examples of Wisp’s core sound. In contrast, #4 “Luna” introduces a dreamy, light-filled atmosphere, adding striking contrasts of light and shade to the overall work.

Next comes #5 “See You Soon,” a romantic song centered on love, with an upbeat closing section that beautifully captures the happiness of being in love. The EP concludes with #6 “Mimi,” where noisy guitars blend seamlessly with a soothing, lullaby-like melody to bring the record to a gentle close.

Due to her viral success on TikTok and Spotify and her subsequent signing to Interscope, Wisp has occasionally been dismissed as an industry-manufactured star. However, with a collection of songs this strong, such criticisms are easily silenced. Moreover, her musical ability is evident: after studying violin and classical guitar in childhood, she went on to play electric guitar and bass, and she currently performs while playing guitar live on stage.

Since her first live performance in December 2023, Wisp has been actively touring, and in May 2024 she served as a support act on Panchiko’s North American tour. Thinking of Wisp—once an individual hidden away in the internet’s forest, like the angel depicted on the cover art—now spreading her wings and delivering excitement to audiences everywhere is undeniably dramatic.

As a live band, Wisp is surely continuing to grow, and I can only hope to see her perform as soon as possible. With a full-length album reportedly in the works, her popularity is certain to rise even further. To all Japanese promoters: I sincerely hope you will make Wisp’s Japan debut a reality.

The fourth album from California-based solo shoegaze artist blood pact.

Brenton Fergeson, formerly the frontman of Conk Creet, left the band to pursue a heavier shoegaze sound and launched his solo project under the name blood pact, inspired by a track from Holy Fawn. Weaving psychedelic noise with lush melodies, he has collaborated with emerging artists such as Jovan Macias—drummer for Slide, Scarlet House, and Wisp—drawing attention within the scene.

Featuring the rising band Velvet, this release pushes toward an even darker, noisier direction, marking what may be blood pact’s most intense work to date. Tracks alternate between slow, immersive passages and bursts of energetic, almost untamed momentum, layering clean vocals with occasional harsh screams—all delivered with a striking contrast that keeps listeners fully engaged. Fans of dark shoegaze will likely find this record compelling, and those moved by Holy Fawn’s debut may find particular resonance here.

Listeners are encouraged to experience the album at full volume to capture its immersive impact. Notably, blood pact’s early 2025 EP hinted at evolving musical directions, perhaps influenced by ongoing collaborations with Jovan Macias of Wisp, suggesting further developments to watch in future releases.

The debut EP from Maryland-based post-punk/darkwave band Computer Kill immediately establishes a sound that feels both familiar and sharply defined. Their shimmering guitar lines, layered synths, and romantic vocal delivery may initially recall House of Harm, yet the frequent eruptions of overdriven guitars and moments submerged in dense reverb suggest a notably shoegaze-leaning sensibility.

The EP opens with “Trouble,” a gothic disco track that glitters like a mirror ball, bringing to mind the club-ready darkness of acts such as Male Tears or Nuovo Testamento. This is followed by “Not Nomal,” where noisy, blown-out guitars are unleashed at full throttle, pushing the band’s sound toward a far more aggressive edge. “Haunted” closes the set with a dance-driven pulse highlighted by synth work that subtly echoes the cinematic textures associated with M83.

True to the band’s name, the EP is packed with what could reasonably be described as killer tracks, each emphasizing a different facet of their hybrid approach. For a debut release, the level of cohesion and finish is striking, suggesting a project that has already moved beyond tentative first steps.

Computer Kill’s appeal should extend well beyond core goth and darkwave circles. Shoegaze listeners may be drawn to the textural weight of the guitars, while fans of visual kei–adjacent aesthetics could find the dramatic contrasts and melodic sensibility equally compelling. With the band maintaining an active live presence—including a notable opening slot for CD Ghost in April 2024—their trajectory appears to be gaining steady momentum.

Debut EP from Modern Failure, a mysterious masked artist emerging from Seattle, Washington.

While the core sound draws from the grunge-to-nu-metal-inflected heavy shoegaze popular on TikTok, this project clearly stands apart.

The defining trait is the guitar work—chainsaw-like noise unleashed in torrents—paired with feral, animalistic screams. When clean vocals enter the picture, the result is a striking contrast between ugliness and beauty that genuinely shines. This dynamic is most fully realized on #3 “Self Help” and #5 “Crash and Burn”. Relentless noise and screams assault the eardrums, only to be softened by sweet, languid vocals that gently ease the pain. The balance is exquisite—equal parts tension and release.

The production is undeniably rough, with inconsistent volume levels and a strong DIY feel, but the lo-fi rawness works in its favor, reinforcing the project’s character rather than detracting from it. There’s a strong sense that Modern Failure could evolve into something even more formidable, earning this EP a spot among the highlights.

Beyond the EP, several standalone singles are also worth exploring. For fans of masked acts, a collaboration with Deer Death is also available.

A newly composed soundtrack for the 1921 Swedish silent film The Phantom Carriage, created by Icelandic post-punk / darkwave trio Kælan Mikla alongside fellow Icelandic artist Bardi Jóhannsson.

The project premiered in 2023 at the Transilvania International Film Festival, where the film was screened inside a church with a live performance by the artists.

I haven’t seen the film yet, but the music alone is more than enough to draw me in. Cold, shadowy synths intertwine with mystical female vocals, capturing the essence of classic gothic horror with striking elegance. My standout track is “The Burden of Love and Death,” where thunderous, subterranean beats collide beautifully with solemn female choral passages. It instantly brought back memories of the late, great Cold Meat Industry and left me unexpectedly emotional.

If you’re into 4AD-associated artists, neoclassical darkwave, or industrial gothic, this is an easy recommendation. Until the day The Phantom Carriage finally gets screened in Japan, this soundtrack is well worth immersing yourself in.

The seventh album from Canadian experimental post-metal band BIG|BRAVE.‍

Formed in Montreal, Quebec, in 2012 by Robin Wattie (Gt/Vo) and Mathieu Ball (Gt), the band became a trio in 2019 with the addition of Tasy Hudson (Dr).

Following the destructive heaviness of their previous release, this album expands into ethereal folk territories while developing a distorted, hammering sound reminiscent of a heavier Dead Can Dance. Long, resonant guitar tones and weighty, hammer-like rhythms create an imposing, immersive presence. Robin Wattie’s vocals combine the solemnity of Lisa Gerrard with the eccentricity of Björk, serving as a defining element of BIG|BRAVE’s unique identity. One might imagine this as the music an ancient shaman would create if handed an electric guitar and an amp.

Standout track #4, “canon : in canon,” presents a clear fusion of neo-folk and dark doomgaze, while #3, “chanson pour mon ombre,” unfolds as an improvised, chaotic piece that defies conventional notation, echoing an extreme take on King Crimson’s Moonchild. Amidst the whirlwind of notes, sudden cannon-like bursts of solid sound leave the listener breathless. Closing track #8, “Mooset,” transitions from sparse, lonely folk to crushing walls of noise, fading out with lingering resonance that leaves a cinematic impression reminiscent of monumental, otherworldly imagery.

By weaving ambient, folk, doom metal, drone, noise, post-metal, post-rock, and shoegaze elements, the album creates a labyrinthine, singular soundscape that feels truly alternative. For listeners leaning more toward shoegaze, the slightly more atmospheric fourth album A Gaze Among Them is recommended, whereas those unafraid of extreme darkness may prefer the funeral-doom intensity of the third album Ardor. Fans of dark, heavy music will find much to explore. BIG|BRAVE’s live performances are reportedly extraordinary, and it would be exciting to see them in person, perhaps invited by Tokyo Jupiter Records, which maintains close ties with heavy noise bands worldwide.

Debut EP from EARTHLING, a post-rock/shoegaze band based in Machida.

Their sound blends ethereal, visual-kei–tinged vocals with intense noise guitar, creating an effect like a poisonous flower exuding a sweet fragrance—once experienced, it’s bound to overwhelm the senses. Crank the volume and immerse yourself fully.

Standout tracks include “Bidoro”, where dark, impassioned vocals crash together with ferocious noise, and “Babel”, which juxtaposes delicate, floating melodies with post-metal–level heavy riffs to create a vast, expansive atmosphere. Fans of Plastic Tree, 101A, or Kara should definitely check them out.

Note: On April 27, 2025, a remastered edition was released including the new bonus track “Astron”. With the original version removed from streaming, all links have been updated accordingly.

Fourth album from Austin, Texas–based post-hardcore band Glassing, released via the esteemed Pelagic Records.

Rooted in post-hardcore, the band seamlessly weaves in elements of blackgaze, doom metal, and other strands of extreme music, forging a sound that feels both expansive and relentlessly crushing.

The album thrives on stark contrasts—moments of suffocating heaviness collide with sudden shifts into restraint and release, creating a constant sense of tension that threatens to tear the listener apart. While the guitars deliver overwhelming weight, they also shimmer with a blizzard-like brilliance, adding unexpected texture. This is further enhanced by the melancholic clean vocals, which inject a sense of isolation and emotional depth.

With a noticeable increase in clean vocal passages compared to the previous release, this album is also their most approachable to date. Even listeners with shoegaze-leaning ears should find plenty to appreciate here. If you’ve been curious about Glassing, this is an ideal entry point.

The second EP from US-based artist yuronono.

Beyond a TikTok bio describing them as a “drawing + genre-variety artist” and the fact that the cover artwork was illustrated by the artist themselves, concrete details about yuronono remain scarce. According to an interview, however, they currently appear to be signed to 25/7 Records.

Musically, the EP aligns with Nu-Gaze rooted in grunge and nu-metal, yet it leans noticeably darker than genre peers such as Wisp or Novulent. Vocals alternate between hushed whispers and a languid, low-register delivery heavy with melancholy, creating an atmosphere that feels both seductive and ominous throughout.

Titled “Samsara”—a Sanskrit term referring to the cycle of rebirth—the EP, together with its lifeless, vacant cover art, seems to suggest a thematic focus on an unending cycle of despair.

A clear highlight is #4 “no surprises,” featuring metalcore/alternative rock vocalist RevengeinKyoto. Against a backdrop of crushing guitars, the interplay between screams and clean vocals forms a striking contrast of harshness and fragile beauty.

By contrast, #5 “villainess” shifts gears entirely, presenting a brisk post-punk/darkwave-inspired track. The understated beat and deep vocal tone fit effortlessly, giving the song a cool, detached edge.

Closing track #6 “remnant” ventures into dark synthwave territory, recalling a version of Chvrches trapped in a nightmare. While heaviness remains a core element, the incorporation of gothic textures may also call to mind artists like Shedfromthebody or Graywave.

Notably, yuronono has continued to release singles following this EP. Listeners drawn to “Samsara” may also want to explore later material, including collaborations with greedi and deer death previously reviewed on this site.