BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

DIIV’s fourth album finds the New York shoegaze band once again steeped in a damp, shadowy atmosphere. It’s their first release in five years, following the heavier turn of Deceiver, and while the sheer wall-of-noise impact has been dialed back, the mood is unmistakably dark and sodden.

Compared to the shimmering glow of their debut Oshin, this feels less like a sunlit resort beach and more like a move straight into a humid tropical rainforest. The sound clings to you. Some listeners may find it subdued or even uneventful compared to the previous album, but the slow-burn, rain-soaked melancholia is precisely what makes it rewarding—especially when you’re in the mood to sink into something quietly consuming. Personally, I find it even more compelling than Deceiver.

Standout tracks include #3 “Rainning On Your Pillow,” #4 “Frog In Boiling Water,” and #7 “Somber The Drums,” though the album remains consistently immersive throughout.

The title Frog In Boiling Water draws on a parable referenced in Daniel Quinn’s The Story of B: throw a frog into boiling water and it will desperately try to escape, but place it in cool water and slowly raise the temperature, and it won’t notice until it’s too late. It’s a fitting metaphor for a world where widening inequality is shrugged off as inevitable, online outrage spreads without regard for truth, and people surrender themselves to algorithm-driven pleasures without resistance. Drift along without a sense of urgency, and you may find yourself quietly boiling in a dystopia of your own making.

Rather than ending up as that frog, one can’t help but admire the impulse to point a gun at the world and say, “Are you really satisfied with this? Because I’m not.”

Second album from Denver, Colorado–based doomgaze band BleakHeart.

Building on the lineup from their previous release—JP Damron (Gt), Mark Chronister (Gt), Kelly Schilling (Vo/Key/Syn/Ba), and Joshua Quinones (Dr)—the band are joined here by Kiki GaNun (Vo/Syn). The addition results in a distinctive configuration centered on twin female vocals and dual keyboards, a setup that significantly reshapes their sonic palette.

While the debut leaned heavily into funeral-doom levels of darkness and weight, this album appears to expand outward, incorporating more delicate and graceful elements that evoke post-rock, folk, and even neoclassical music. The interplay between Kelly Schilling and Kiki GaNun’s vocals, layered over double keyboards and complemented by a string quartet, creates rich, multi-dimensional harmonies. The overall effect suggests the sensation of drifting into sleep while wrapped in jet-black velvet—luxurious, heavy, and quietly enveloping.

The album opens with #1 “All Hearts Desire,” which makes full use of the dual-keyboard approach to build a slow-burning, dramatic swell. On #3 “Where I’m Disease,” the intertwined vocals trace an image of gradual emotional erosion, their harmonies tightening as the song progresses. Later, #6 “Falling Softly” unfolds as a solemn elegy, where graceful string lines and monolithic guitars merge into a deeply mournful procession. Each of these tracks points toward a new creative territory for the band, balancing doom’s gravity with an expanded sense of beauty.

Listeners drawn to doom music infused with folk or ethereal elements—such as shedfromthebody, Lethian Dreams, or Darkher—will likely find much to appreciate in BleakHeart’s evolution on this release.

Third EP from UK shoegaze band Graywave.

Originally Jess Webberley’s solo project, Graywave has grown into a four-piece with Zak Jenkins (drums), Oliver Beardmore (guitar), and Joe Galkowski (bass). From the lush dream-pop/shoegaze of their debut EP to the heavier direction hinted at in their second, this third EP fully embraces darkness, incorporating trip-hop, darkwave, and heavy metal elements.

Jess Webberley’s vocals, inspired by Chelsea Wolfe and Emma Ruth Rundle, shift effortlessly between haunting low tones and ethereal beauty, adding depth to the EP’s shadowy soundscape. The guitars are both heavy and twisting, yet coated in a shimmering layer that keeps the shoegaze essence intact. The melodies are not just beautiful—they’re bewitching and unsettling, appealing not only to indie/shoegaze fans but also to headbangers and gothic music lovers alike. No wonder she counts Type O Negative among her favorites.

Standout track #2 "Blur Into One" perfectly embodies dark shoegaze: crushingly heavy yet retaining the dreamy elegance of Slowdive or Cocteau Twins. It’s easily one of the best tracks of the year. #6 "Dancing in the Dust" brings a post-punk/darkwave dance vibe, revealing a side that feels like CHVRCHES or Pale Waves—but turned all the way up, heavier and darker than expected.

Graywave continues to expand their reach, contributing backing vocals to new tracks by UK dark shoegaze duo Zetra and signing with UK/EU tour agencies. They’ve also expressed plans to release a full-length album in the coming years, which makes following their progress even more exciting. Fans of Chelsea Wolfe, King Woman, and Slow Crush should definitely check this one out.

Aythis is the solo project of Carline Van Roos, widely known as the vocalist for French dark doom metal bands Lethian Dreams and Remembrance. This release arrives as a double album, and the disc highlighted here, “Celestial Exile,” functions as a comprehensive overview of the musical worlds associated with Aythis. Building on the ethereal wave and dream pop direction explored on the previous release, the album also weaves in Aythis’s signature mystical neoclassical and darkwave elements, alongside atmospheric doom metal textures rooted in Van Roos’s work with Lethian Dreams.

Her voice—fragile, crystalline, and almost ice-bound—remains central throughout, drifting gently over guitars that fall like powdery snow and synths that seem wrapped in cold air. The overall effect suggests a soundscape that, when experienced with eyes closed, appears to transport the listener into a subzero, silver-hued expanse. It is music that feels especially vivid in winter, though one might reasonably suggest adequate warmth before immersion.

Among the standout tracks, “The Endless” (#1) carries forward the album’s ethereal wave lineage with grace and restraint, while “Moonsong” (#3) leans into a slower, heavier space where doom metal and post-rock converge, steeped in a glacial sense of sorrow. Together, they highlight the album’s ability to balance delicacy and weight without losing cohesion.

The companion disc, “Lost Lighthouse,” reinterprets the material through alternate arrangements, offering a contrasting perspective on the same core compositions. Taken together, the double album invites close comparison between its two halves and rewards attentive listening across both versions.

Aythis – “Lost Lighthouse” Review

Debut album from Tokyo-based three-piece indie rock band Yukiguni, named after one of Yasunari Kawabata’s most famous novels.

Their greatest strength lies in their beautifully restrained melodies, imbued with a strong sense of wabi-sabi. Drawing from post-rock, slowcore, shoegaze, and folk, the band weaves a deeply lyrical soundscape that almost demands to be paired with images of snow. Delicate arpeggios and a clear yet fragile vocal delivery further reinforce that wintry impression.

As the album unfolds, vivid scenes emerge one after another: snow dazzling in the morning sun, flakes drifting softly from a leaden sky, blizzards raging across desolate plains, and vast, blinding-white fields stretching endlessly into the distance. Across 15 tracks and just over an hour of runtime, the album builds an immersive world that seems intent on capturing every facet of “Yukiguni” in sound.

According to a radio interview, the band isn’t consciously aiming for any specific genre or referencing particular artists. Instead, they focus on expressing their own personal longing for the idea of “snow country” through the sounds they love. Personally, I can’t help but hear traces of influences such as Spitz, Kinoko Teikoku, or Hitsujibungaku, alongside an undercurrent of icy tension reminiscent of Whirr or Kauan. That chill alone should make this album resonate strongly with fans of shoegaze and post-rock—myself very much included.

My standout track is #1 “Hontō no Seijaku (True Silence).” I love how it moves from a subdued, gently sung opening into the darkest moment on the album. The only drawback is that it ends far too quickly; I can’t help wishing a longer version existed somewhere.

Because the album plays out like a single, continuous narrative, I strongly recommend listening to it in track order at least once. Highlights include the dynamic contrast of #6 “Stella” → #7 “Yūdachi,” the haunting beauty of #8 “Shōshitsuten,” and the dramatic progression of #9 “Mayonaka.” Taken together, it’s almost overwhelming how many strong songs are packed into a debut release—so much so that their next album feels a little intimidating to anticipate.

Beyond the music itself, their DIY ethos also deserves praise. From music videos and merchandise to running their own label, they handle everything independently—and they’ve even mentioned wanting to release other bands’ music in the future. Surprisingly, they’ve also been making smart use of ChatGPT along the way.

The members are currently university students in the middle of job hunting, but they made one thing very clear on the radio: continuing the band is non-negotiable. With that kind of conviction already in place, the future for Yukiguni looks incredibly promising.

The fifth album from Chicago, Illinois psychedelic doom metal band REZN.‍

The current lineup consists of Rob McWilliams (Guitar), Phil Cangelosi (Bass/Rainstick), Patrick Dunn (Drums/Percussion), and Spencer Ouellette (Synth/Sax/Lapsteel/Flute/Piano). Originally a project between childhood friends Rob and Phil, the band expanded after their move to Chicago in 2014, with Patrick and Spencer joining for sessions. REZN officially launched as a band in 2016, releasing their debut album Let It Burn in 2017, which drew attention in the underground scene for its hypnotic yet punishingly heavy sound.

REZN’s signature lies in their draggy, spiritual wall of sound that blends the foundations of psychedelic stoner rock and doom metal with the ethereal textures of shoegaze. This new album intensifies the gloom and sense of confinement established on its companion release, Solace, resulting in what might be their darkest work to date.

Highlights include #1 “Indigo,” which opens with a mysterious intro before erupting into thick, beast-like guitar tones. Swirling riffs intertwine with exotic, folk-inspired melodies, evoking a sense of transgressive ritual that lingers like a silken thread. #2 “Instinct” features vocals steeped in deep melancholy, guiding a dramatic sonic landscape, while #4 “Bleak Patterns” explodes from a lullaby-like introduction into full-throttle walls of sound. #5 “Collapse” showcases eerily dancing Eastern-inspired motifs, #6 “Soft Prey” channels Spencer’s saxophone to convey a dry, poignant sorrow, and #7 “Chasm” delivers noise-doom with the force of a landslide.

Fans of legends like Pink Floyd and Black Sabbath, or contemporary heavy, reverberant doom-gaze acts such as Blanket, Spotlights, and post-metal/prog releases on Pelagic Records, may find this album particularly compelling. The companion album Solace is also highly recommended. It’s worth noting that few shoegaze acts incorporate traditional or folk music influences—particularly in Japan—but REZN demonstrates how effective such elements can be within a heavy, ethereal framework.

The third full-length album from French blackened doom metal duo Blóð further refines the project’s slow-burning, oppressive aesthetic while subtly expanding its textural scope. Formed in 2018 by multi-instrumentalist Ulrich Wegrich (Otargos, formerly of Regarde Les Hommes Tomber) and vocalist Anna Wegrich, Blóð takes its name from the Icelandic word for “blood”—a fitting signifier for music steeped in ritualistic darkness.

Named after the demon Māra, often associated with torment and spiritual affliction, the album builds upon the duo’s established foundation of sluggish, suffocating doom. At the same time, it introduces sharper elements: guitars that emit a black metal–like abrasive hiss, and low-end frequencies that surge and recede like tidal waves, creating a hypnotic atmosphere that occasionally suggests a doomgaze-adjacent sensibility.

The opening track, “Gehenna,” begins with a shamanic choral passage sung by young voices before plunging headlong into pitch-black distortion, effectively ushering the listener into an infernal descent. From there, the album subjects the senses to relentless pressure—skull-rattling volume, ear-splitting noise, and a viscous heaviness that feels inescapable, as if sealed inside total darkness.

Anna Wegrich’s vocal performance is central to the album’s impact. She shifts seamlessly between witch-like incantations, piercing screams, and anguished moans, reinforcing the music’s sense of psychological collapse. Rather than functioning as mere ornamentation, her voice acts as another instrument of tension, heightening the album’s ritualistic and destabilizing effect.

As a whole, the record can be situated among some of the more compelling recent examples of extreme doom that blur into post-metal and doomgaze territory. Listeners drawn to the oppressive atmospheres of Presence of Soul, Sinistro, or Amenra may find Blóð’s latest work particularly resonant. Notably, the duo has also brought this intensity to the stage, including an appearance at Hellfest in 2023, further underscoring the project’s growing presence within the darker reaches of the underground.

The fourth album from UK synthwave artist Kalax.

Based in Liverpool, Kalax is the solo project of Lee Blanshard. Before diving into this record, it is worth briefly revisiting what synthwave represents as a genre. Emerging in the mid-2000s, synthwave draws heavily on the soundtracks of 1980s science-fiction films and video games. Hallmark elements include reverse-gated snare drums, pulsating synth basslines, and lead synths that recall the bleeps and tones of retro arcade games. For a quick point of reference, listening to a track by Miami Nights 1984 conveys the essence of the style more efficiently than any verbal explanation. Visually, the genre is equally defined by cyberpunk-inspired artwork, often echoing the aesthetics of Tron or Blade Runner.

Over time, synthwave has splintered into a wide range of substyles. Some branches lean toward vocal-driven pop, others absorb chillwave into more ambient territory, while darker strains edge closer to goth and darkwave, occasionally adopting horror-inflected moods. At the more extreme end, certain artists push the genre toward industrial metal–level aggression. Among these offshoots, the most dreamy and romantic strand came to be known as Dreamwave, a style that gained widespread international attention through acts such as The Midnight.

Kalax initially emerged from the more traditional, instrumental-focused side of synthwave, much like Miami Nights 1984. With the third album “Ⅲ,” however, the project began incorporating numerous guest vocalists, refining a distinctly romantic sensibility. This shift helped Kalax stand out within an increasingly crowded Dreamwave landscape. The track “Out of Time” from that album, in particular, has often been cited as one of the most emotionally affecting pieces in synthwave, notable for its aching, melancholic pull.

After a five-year gap, the new album makes its intentions clear from the moment playback begins. Shimmering synths surge forward in waves, conjuring images of neon-lit nights in Los Angeles. The listening experience suggests a headlong plunge into a Blade Runner–like world, as if slipping into the role of a replicant—or Deckard himself—racing through the city’s glowing streets. With a runtime of roughly 80 minutes, the album sustains this atmosphere long enough to feel almost like a VR experience, offering an unusually deep sense of immersion.

One of the most notable changes on this release is Blanshard’s decision to handle lead vocals himself. His slightly husky, wistful tone adds a new layer of depth and intimacy to the material, and it appears to signal a shift that may also take live performance into consideration.

Although opportunities to see synthwave artists perform in Japan remain limited at present, this album serves as a compelling entry point into the genre. It should resonate not only with dedicated synthwave listeners, but also with fans of electronic-leaning dream pop and shoegaze, particularly those drawn to artists such as M83, School of Seven Bells, or Mint Julep.

The second EP from Pittsburgh-based shoegaze band Threaded offers another compelling example of how naturally emo and shoegaze intersect—a compatibility long demonstrated by artists such as Turnover, Teenage Wrist, and Hundredth. Threaded is no exception, blending a heavy, guitar-driven sound with vocals that carry a bittersweet softness.

The opening tracks, “Denton” and “Static,” are particularly striking. Both are marked by a cold, almost glacial atmosphere that recalls the restrained intensity often associated with Whirr. Dense distortion collides with melodic vulnerability, creating a tension that feels deliberate rather than excessive, and giving the songs their emotional impact.

While concise in scope, the EP leaves a lasting impression, suggesting a band that understands the genre’s sense of emotional restraint. It stands as a promising step forward, and positions Threaded as a project worth watching as their sound continues to evolve.

Second album from Norwegian solo artist Pia Isaksen.

Best known as the bass vocalist of fellow Norwegian psych/doom metal band Superlynx, Pia Isaksen has long established herself as a dedicated practitioner of heavy music. Under her solo name, she describes her sound as “slow heavy dronegaze,” a fitting label for music built on earth-shaking guitars, deliberately paced drums, and a languid, seductive vocal delivery that together create a deeply intoxicating atmosphere.

On this album, her vocals appear more atmospheric than before, subtly increasing the shoegaze element within the mix. As a result, the record may feel more approachable even for listeners who are less familiar with drone or doom-oriented sounds. The experience often suggests the sensation of trudging through thick mud while wandering a fog-laden forest—disorienting, immersive, and strangely calming at the same time.

Whether enjoyed with a glass of something strong in hand, gently nodding along to the slow-motion grooves, or listened to with eyes closed while surrendering to its sheer weight, the album invites multiple modes of engagement.

It is also worth noting that Isaksen is currently active in another project, SoftSun, alongside Gary Arce of Yawning Man, who appears as a guest on this album as well. Those curious about where her sound leads next may want to explore that project too—unsurprisingly, it continues firmly along a heavy path.