BEST OF
DARK
SHOEGAZE & DREAMPOP
2024

The fifth album from Swedish post-metal / doomgaze duo Oh Hiroshima.

Oh Hiroshima debuted in 2011 with the self-released Resistance Is Futile and gained widespread attention with their 2015 sophomore album In Silence We Yearn, which quickly established their name in the post-rock scene. A track from that album currently boasts an impressive 4.56 million views on the YouTube post-rock channel WherePostRockDwells. Following this success, the band signed with metal-oriented Napalm Records for two subsequent albums. This release marks their first album on Pelagic Records, home to post-metal acts such as The Ocean and Cult of Luna. While the band previously operated as a four-piece, they are now a sibling duo of Jakob Hemström (guitar/vocals) and Oskar Nilsson (drums).

Opening track #1 “Wild Iris” showcases the band’s signature dynamic shifts between calm and intensity, evoking the turbulent seascape of the album’s cover art. Jakob’s vocals play a more prominent role here, further enhancing the harmonic interplay with the instruments. A personal favorite, #6 “Deluge,” combines intricate rhythms and desolate soundscapes reminiscent of Opeth or Anathema, creating a unique identity that sets them apart from typical post-rock. The track also features strings and chamber-music-inspired arrangements, adding a touch of elegance.

This album is highly recommended not only for fans of post-rock and doomgaze but also for listeners who appreciate progressive music. While Napalm Records may have been a slightly mismatched home, Oh Hiroshima’s move to Pelagic seems perfect—they sound revitalized and poised for continued growth.

The second album from Birmingham-based UK post-metal/shoegaze band Outlander.

The album was recorded by Ian Grant (Gt/Vo), Joseph House (Gt), Dan Jones (Bass), and Jack Davis (Dr). Since then, Aaron Buckell (Gt/Syn) has joined the lineup, expanding the band into a five-piece configuration.

Building on the slowcore-, post-rock-, and doomgaze-inflected foundation established on their debut, this release appears to move toward a sound that is quieter, more melancholic, and ultimately more destructive in its emotional force. Unhurried tempos leave generous space between notes, with reverberation filling the gaps; within this submerged, oceanic shimmer, weary whispers echo and linger. Over time, the music seems to plant a vague sense of unease and isolation deep within the listener—a record well suited to solitary listening in a darkened room, much like its cover art suggests.

A standout moment arrives with #2 “Want To More.” It opens with a brooding introduction that recalls Katatonia’s “Code Against the Code,” before gradually building in volume and density until the listener is engulfed by a black, turbulent mass of sound. The sensation is less of escalation than of being slowly pulled under, as if guided by unseen hands into thick, lightless sludge. Its extended runtime and patient descent are particularly effective.

Equally slow and somber, #5 “New Motive Power” offers a different kind of weight. The restrained middle section conveys a striking loneliness, drifting through what feels like a dark, empty cosmos. Slow, dark, and heavy—these are often cited as the three core elements of music steeped in darkness, and this track articulates them with clarity.

Following the release of this album, Outlander announced their move to Pelagic Records, a respected home for post-oriented heavy music. If anything, this transition suggests that the band is poised to deliver even deeper and more unsettling emotional waves in the years ahead.

Debut EP from dream pop duo iVy, formed by fuki (Gt/Vo) and pupu (Key/Vo).

I first discovered iVy toward the end of 2023 after they happened to follow me on Twitter. Curious, I checked out their newly released track “Classroom”, and was instantly drawn in by its hazy, dreamlike atmosphere—soft and floaty, yet tinged with a subtle melancholy.

I finally caught them live the following March at “Yume no Tsuzuki,” a self-produced event co-hosted with Pinky Pop. The concept was charmingly immersive: a lounge decorated around themes of girlhood, lined with sweets and small goods, while live performances took place upstairs. It felt perfectly at home in Nakano’s subcultural landscape. The next month, at a Waseda Records–hosted event featuring acts like Uchū Nekoko, Healthcare and medical, and Moon In June, iVy confidently held their own in front of a much larger audience. After their set, I distinctly remember hearing people around me say, “That band just now was really good”—a moment that left a lasting impression.

During that show’s MC, they announced an EP would arrive in summer, which made the wait all the more exciting. At the time, their music was only available on SoundCloud and YouTube, so the long-awaited streaming release on July 10, 2024 was cause for celebration—I downloaded it the moment the clock struck midnight. That bit of personal backstory aside, let’s talk about the music itself.

Musically, iVy blend dream pop and alternative rock, scattering glittering sounds throughout their songs to evoke a world filled with childlike imagination and light. But beneath that sparkle lies a faint shadow: the sense of loss after waking from a pleasant dream, or the unease that seeps in when you glimpse the hidden truth behind a happy fairy tale. That tension is where their charm truly shines.

#1 “Hello phila!” is a perfect example. At first listen, it feels like pure, sun-soaked dream pop, overflowing with shimmering guitars. Dig deeper, though, and the lyrics reveal a self-critical, almost damp darkness. The brightness slowly transforms into a stinging sensation, like sunburn, the more you sit with it.‍

#2 “Classroom” is a live staple and clear killer tune, capturing the frustration of being unable to become “someone” through a melancholic melody. The waltz-like turn in the outro is irresistibly dramatic.‍

#4 “kirakirakiller” leans into poppier territory, recalling Letting Up Despite Great Faults or later-era Supercar. The playful, sparkling keyboard lines practically force your heart to dance. Even the title slyly slips in a bit of poison beneath the shine—a great touch. Pay close attention to the lyrics here; the witty phrasing is exceptional. Lines like “We defeated the bunny granny, so it’s over!” or “Costume mass disposal day” are wildly imaginative, yet somehow fit the melody perfectly. It’s nothing short of impressive.

With its hand-drawn characters, charming visuals, and off-kilter pop sensibility, iVy feels primed for a TikTok breakout. In fact, their name has already been popping up more and more frequently on my timeline, even before this EP’s release. It’s the kind of rise that feels oddly personal to witness.

They’re set to play a Shibuya QUATTRO show on August 7 alongside Otome Kaiga, Khaki, and downt—an appearance that will almost certainly bring them even more attention. At this pace, a wider breakout feels inevitable. So yes, iVy, please start using TikTok. The timing couldn’t be better.

On July 20, they also released “Yūei Program / Bokura no Omajinal” via Solitude Solutions, adding six Side B tracks to Yūei Program. Available on cassette or MiniDisc (with download code), this release has me especially curious about the Side B version of “Classroom (Outside the Classroom)”. I may have no choice but to pick it up.

Finally, a note on the artwork: the handwritten message reads,

even if the moon is chipped it's just beautiful
your whirlpool is shining
sleep tight
sleep tight

A quietly comforting sentiment—and a fitting one for iVy’s world.

Debut album from Dutch post-punk / post–black metal band Vuur & Zijde.

The name Vuur & Zijde translates to “Fire and Silk” in Dutch, a fitting contrast for a band that thrives on tension and transformation. The project is centered around members of prominent Dutch black metal acts such as Laster, Nusquama, and Terzij de Horde, signaling serious pedigree from the outset.

Their sound collides abrasive post-punk rhythms with the ferocity of black metal, while vocalist Famke weaves in haunting melodies sung in Dutch and Frisian. Her voice dances eerily above the chaos, lending the music a ritualistic and almost hypnotic quality. It’s intense, unconventional, and unapologetically strange—exactly the kind of left-field release you’d expect from a Prophecy Productions signing.

Moments of folk-inflected vocals and dreamy arpeggios hint at influences like Dead Can Dance and Cocteau Twins, which the band themselves have cited. Given that both of those acts emerged from post-punk roots before evolving into something far more mystical, it’s fascinating to imagine where Vuur & Zijde might head next.

One final note: despite the shared name, this band has no connection to Vuur, the former project of Anneke van Giersbergen (ex-The Gathering).

The debut album from Mongolian post-punk/dream pop band Teresa in the Moon. Formed in 2019 under the name Ivy In My Mind, the group initially leaned more directly into dream pop before rebranding as Teresa in the Moon in 2020 and shifting toward a distinctly ’80s-inflected blend of post-punk, dream pop, and new wave. The band currently operates as a four-piece, featuring guitar/vocals, bass/vocals, synths, and drums.

The origin of the band’s name adds an evocative layer to their identity. It references a well-known episode from the Apollo 17 mission, when commander Eugene Cernan wrote the initials “TDC” on the lunar surface—an abbreviation of his daughter’s name, Teresa Dawn Cernan. With no wind or atmosphere on the moon, the inscription is destined to remain untouched by erosion. It is easy to read Teresa in the Moon as an artistic gesture informed by this idea: music meant to endure, quietly but persistently, over time.

Titled “Amygdala”, the album takes its name from the part of the brain associated with emotion and memory, an apt reference for a record that thrives on contrasts. Dark post-punk frameworks intersect with lush, decadent dream pop textures, creating a soundscape where light and shadow continuously overlap. One of the album’s defining features is its dual-vocal approach. Guitarist and vocalist Ochir Munkhgerel delivers a low-register voice rooted in classic ’80s goth traditions, while bassist and vocalist Saran Batbileg counters with a delicate, whisper-like tone. The contrast between the two voices adds depth and emotional nuance throughout the record.

This interplay is particularly effective on tracks like #2 “Monochrome,” #4 “Ivy,” and #5 “About US,” where the twin vocals intertwine to striking effect. These songs encapsulate the band’s core aesthetic—a space where brightness and darkness, joy and melancholy, coexist without canceling each other out. While the shimmering arpeggios may recall familiar DIIV-adjacent territory, there is also a subtle sense of melodic phrasing that feels distinct, hinting at an Eastern sensibility beneath the surface.

Given that Mongolian music is often internationally associated with artists who foreground traditional elements, the emergence of a goth and dream pop crossover like Teresa in the Moon comes as a welcome surprise. “Amygdala” stands as a compelling entry in the broader post-punk and dream pop landscape, and it suggests that this band’s trajectory is well worth following as they continue to refine and expand their sound.

The debut album from California-based witch house duo Melancholic Crossroads. Built on cold, mechanical four-on-the-floor beats, the tracks are anchored by a detached female vocal delivery and enveloped in layers of shimmering, otherworldly synthesizers. The resulting soundscape feels less like a conventional club setting and more like background music for a ghostly masquerade—eerie, seductive, and quietly hypnotic.

The album’s appeal lies in its balance between austerity and fantasy. While the rhythmic foundation remains rigid and industrial, the glossy keyboards introduce a dreamlike sheen that softens the overall severity. This tension gives the music a cinematic quality, one that suggests nocturnal rituals rather than straightforward dance tracks. The atmosphere is especially resonant during the autumn months, when themes of darkness and enchantment naturally feel closer to the surface.

Listeners drawn to dark yet whimsical narratives—such as The Nightmare Before Christmas or Something Wicked This Way Comes—may find a familiar emotional register here. Musically, the album should also resonate with those who favor the shadowy electronic aesthetics of Crystal Castles, Sidewalks and Skeletons, or Banshee. As a debut, it presents a cohesive and immersive vision, positioning Melancholic Crossroads as a project worth noting within the contemporary witch house and dark electronic landscape.

3rd album from Los Angeles–based post-metal / doomgaze band Iress.

The band’s sound has evolved significantly since their previous release "Flaw", retaining its signature heaviness while bringing greater clarity to the delicate passages. Vocalist Michelle Malley, hailed as the "Adele of Doom" shines brighter than ever, standing shoulder to shoulder with renowned dark vocalists like Chelsea Wolfe and Heike Langhans.

Highlights include the ethereal yet heavy contrast of #1 "Falling", the soul-shaking wail of #3 "Mercy", #6 "In Reverse", and the doom-laden headbanger #8 "Knell Mera". This is arguably their finest work to date and an essential listen for any doomgaze aficionado.

The debut album from Canadian shoegaze band never easy introduces a project shaped around the core partnership of ugly (guitar, bass, vocals) and numb (drums, vocals). From the outset, the record distinguishes itself through a heavy shoegaze sound informed by nu-metal influences, while its slower tempos and patient pacing suggest an affinity with the melancholic restraint of slowcore.

Rather than relying on constant intensity, the album favors a down-tempo approach that allows melancholy to accumulate gradually. In this sense, echoes of artists like Duster can be felt—not as imitation, but as a shared sensibility rooted in stillness, weight, and emotional suspension. It is a record well suited to moments when immersion, rather than immediacy, is the goal.

The album’s emotional peak arrives in its closing stretch. Track #9, “are you happy,” freezes the listener in place with blizzard-like sheets of guitar noise, before flowing seamlessly into “you’d be home now.” Here, clean vocals and bursts of screaming overlap and collide, forming a climactic sequence that feels both cathartic and unresolved.

It is somewhat surprising that “choke,” the single that initially drew attention to the band, does not appear on the album. Even so, the debut makes a strong case for never easy’s potential. With the band now appearing to be increasingly active on the live circuit, this release reads less like a final statement and more like the opening chapter of a project poised for further growth.

The fifth album from Oakland, California–based post-metal / doomgaze band Mountaineer.

Formed in 2015 by Clayton Bartholomew (guitar) and Miguel Meza (vocals), Mountaineer debuted in 2016 on Lifeforce Records. The band quickly gained attention for blending the heaviness of doom metal with emotional vocals and shimmering, melodic passages. After several lineup changes, they now operate as a six-piece. While their early association with Lifeforce positioned them within metal circles, Mountaineer has consistently developed a unique sound that fuses metal with shoegaze and post-rock, delivering high-quality compositions from the start.

This album emphasizes even more atmospheric textures, making it a striking listen for shoegaze fans beyond the metal scene. Standout track #8 “Dawn and All That Follows” balances crushing guitar riffs with ethereal melodies, employing dynamic shifts and the contrast of clean vocals and growls to create a dramatic, immersive experience. At over seven and a half minutes, the track evokes the sensation of drifting through space while in a deep, dreamlike sleep—much like the cover art suggests. #2 “Hypnos” immediately unleashes sorrowful melodies amid roaring noise, perfect for headbanging with tears in your eyes.

For fans of both doom metal and shoegaze, this release is a must-hear. Listeners who enjoy melancholic doom acts like Ghost Brigade and Swallow the Sun, or artists from Pelagic Records, will find plenty to admire here.

2nd album from US singer-songwriter Ashlyn Perez’s solo project Deadlyswcct.‍

Released just five months after the debut Eternal Lament, this sophomore effort brings in several guest vocalists and leans into nu-metal influences reminiscent of Evanescence, Deftones, and Korn. While the shoegaze elements are slightly less prominent, the album retains its melancholic atmosphere.

Standout track #1 "Torn Remains" blends Ashlyn’s languid, dreamy vocals with clean and screamed guest performances, creating a dynamic that fans of early Evanescence or Lacuna Coil will likely appreciate.