BEST OF
DARK
SHOEGAZE & DREAMPOP
2025

The first full-length album from Tokyo-based shoegaze band Kuyuru.

Formed in 2022, Kuyuru quickly gained attention for their overwhelming live performances. The current lineup consists of Orito Ayana (Vo/Gt), H. Tobita (Gt), Ueda Ryuta (Gt), Kawase Rui (Ba), and Yamaguchi Wataru (Dr). At the core of their sound is a triple-guitar assault that produces a wall of distortion, creating a violent yet beautiful contrast that is among the most intense in Japan. The drums cut through this sonic wall with incredible power, forming the backbone of the band’s formidable sound.

Given the extremity of the instrumentation, newcomers might initially feel this is far from shoegaze. Yet the ethereal, mirage-like vocals firmly anchor Kuyuru in the genre. This interplay of “violence” and “beauty” is central to their aesthetic.

The album features a diverse set of tracks that transcend genre boundaries. #1 “mope” alternates between quiet and intense passages, plunging the listener into darkness, while #2 “Aoisora” spirals with abrasive noise before culminating in a Blackgaze-style wall of sound. #7 “momo” blends slowcore melancholy with doomgaze weight, and #8 “BESIDE” unfolds into expansive post-rock-inspired soundscapes. Each of the eight tracks has a distinct character.

Recently, Japan has seen a rise in heavy shoegaze bands influenced by acts like Nothing and Whirr. Kuyuru, however, pushes further into new territory. They have performed at events that feature extreme hardcore and metal, captivating audiences with their aggressive, immersive sound—evidence of their embodiment of the alternative spirit in the Japanese shoegaze scene.

While the album production is clear and comfortable, it retains a live-like energy. Listeners who have experienced their concerts multiple times are likely to find it highly satisfying. In a live setting, the band attacks with an overwhelming sonic force that envelops the entire body—those unfamiliar should experience it firsthand. It becomes evident that Kuyuru truly shines in live performance. Earplugs are highly recommended.

The cover art also warrants attention. The image of a figure curling in darkness evokes a fetal position. One might imagine that, within the womb, the predominant sounds are the mother’s heartbeat and blood flow, with occasional calls or song reaching through the noise like beams of light. This can be interpreted as a primordial shoegaze archetype. In this context, the recent shoegaze boom in Japan could be seen as a collective desire to escape harsh realities into a “Lovescape”—a womb-like place of love and comfort. Kuyuru’s music serves as a perfect soundtrack for this longing.

The 2025 release from Tokyo-based experimental rock band KRISHNV, listed in their discography as their third album.

Formed in 2019 by Takumi Izawa (guitar/vocals) and Shunsuke Shibuya (bass), KRISHNV has developed a sound that might be described as alternative dark tribal music. Tribal rhythms reminiscent of ancient ceremonies provide a steady pulse, while a slow-moving wall of distortion gradually permeates the tracks, over which hypnotic, mantra-like vocals unfold. The result often suggests a fusion of TOOL’s ritualistic rhythms and Dead Can Dance’s mystical atmospheres, though the Japanese lyrics resonate almost like foreign incantations, highlighting the band’s singular sense of mystique.

The immersive 19-minute-plus #10 “Obsidian” exemplifies this approach, creating an experience that feels almost like a Domain Expansion, a fully enveloping space that draws the listener entirely into the music.

Live, the band often brings in support members to generate a wall of sound with twin drums and triple—or sometimes quadruple—guitars. Against a backdrop of VJ visuals drifting in darkness, their performances become less about playing music and more about enacting a ceremony. Initially, listeners might feel a primal unease, as if glimpsing another realm, but surrendering to the sound often leads to a physical, ecstatic response.

KRISHNV seems to summon both the sacred and the profane—the truth of which is best discovered firsthand.

The second album from Sakata, Yamagata–based shoegaze band Slow Snow Slide.

Originally formed in 2016, the band released their debut album paradise lost in 2019. Following lineup changes, they reemerged in 2022 with a five-member configuration for this new release. The recording lineup featured GOE (vocals/guitar), TAKEDA NATSUKO (guitar/vocals), YAMA (guitar), MASAKUNI (bass), and YOKOCHIN (drums), with MASAKUNI departing after the release.

Their debut combined post-rock and shoegaze with classical elements like piano and violin, establishing a distinctive sound beyond conventional boundaries. The band name, “Slow Snow Slide,” reflects their signature expansive soundscapes. THE EXHIBITION takes inspiration from Modest Mussorgsky’s Pictures at an Exhibition, leveraging a triple-guitar and dual-vocal setup to create even more layered textures. Across seven tracks, including the instrumental “Promenade,” each piece depicts a unique scene, unfolding like a tour through an art gallery.

Notable tracks include:

#2 “Drawing on the blank page”
Diamond-dust-like arpeggios intertwine with blizzard-like guitar, flowing in a gentle waltz. Twin vocal harmonies bring warmth and lyricism, evoking sunlight across a frozen landscape.

#3 “Luzifer”
A danceable track with goth- and new wave-infused darkness, featuring cold-toned guitars and GOE’s alluring vocals, accented by pounding drums and soaring guitar.

#6 “Nihilistic”
Interweaving twin guitars navigate dynamic shifts between stillness and intensity, culminating in a grand, emotionally charged climax. Catchy guitar motifs throughout highlight the band’s adventurous spirit.

#7 “Rasen Kaindan”
A dark anthem driven by distorted bass and black waves of sound, ending with a wall of noise and impassioned screams that pull listeners into an abyss.

While each track has its own character, the album is unified around “Promenade,” creating a shared sonic universe—a contemporary reinterpretation of Pictures at an Exhibition.

The album is currently available on CD only (not yet on streaming services) and can be purchased through the official online shop or at live shows. Fans are encouraged to obtain a physical copy to fully experience the immersive, narrative-driven journey. Slow Snow Slide is currently on a release tour across Tohoku and Kanto, offering fans a rare opportunity to witness their performances firsthand. Tour details are available via the band’s official website and social media.

Check Slow Snow Slide’s official website and social media.‍

Slow Snow Slide: Official site

Slow Snow Slide: Instagram

Slow Snow Slide: X

The debut EP from Los Angeles- and Beijing-based shoegaze artist Cuspid.

Currently known only as an 18-year-old admirer of Deftones and Lana Del Rey, this mysterious newcomer delivers astonishing quality on a first outing. Heavy guitar meshes with ethereal melodies reminiscent of Wisp, yet Cuspid’s vocals are darker and more immersive, and the tracks lean toward downtempo heaviness, evoking a sense of melancholy as if sinking to the ocean floor—closer in mood to Graywave or Slow Crush. For listeners wishing Wisp were slightly darker, this EP could be ideal.

#1 “Debris” opens with roaring guitars slicing through the space while misty vocals resonate hauntingly, creating a striking contrast. #2 “Floor 12” unfolds with uneasy arpeggios and a slow progression, gradually building to a release of sorrow by the end. #3 “Flyaway” connects seamlessly with a delicate intro, maintaining a fluid and compelling flow. The closing #4 “Whiplash” takes a slow-tempo approach, carefully weaving melodies and leaving a lingering impression. All four tracks stand at a remarkable level of quality.

Already a strong contender for AOTY, Cuspid is an emerging shoegaze artist to watch, following in the footsteps of Wisp. Current Spotify monthly listeners number just 680, but the trajectory promises much more in the near future.

The third album from Richmond, Virginia–based shoegaze band Keep.

Formed in 2013 initially as a duo of Nick and Wes, the current lineup consists of Wes Smithers (guitar/sampling), Will Fennessey (bass), Levi Douthit (guitar/synth), and Nick Yetka (drums/vocals). While citing influences such as The Cure, The Smashing Pumpkins, and Slowdive, Keep’s sound extends well beyond these touchstones.

Their debut leaned toward dreamy post-punk reminiscent of The Cure and DIIV, but from the second album onward, their palette has grown more expansive. Anchored by grunge-inspired heavy shoegaze, tracks like #8 “Sodawater” shimmer with dream-pop guitars, while #11 “Hurt a Fly” delivers an emo-tinged, high-energy rush.

The band never feels scattered; the core of Keep’s signature melancholic beauty persists throughout, with emotive vocals intertwining with luminous lead guitar to create richly textured soundscapes. The melodic interplay and powerful guitar riffs benefit from the production and engineering of Zac Montez (Whirr, Cloakroom).

Compared with contemporary heavy shoegaze and grunge-gaze acts, this album remains highly melodic and accessible, making it an excellent entry point for new listeners. Keep has been relentless on the road, completing a spring tour with hometown peers Turnover, a summer tour including a run with Leaving Time in August, and an EU/UK tour starting in late October with Slow Crush. Their continued momentum suggests growing international attention, with hopes high for a future visit to Japan.

The second album from Athens-based doomgaze band Church of the Sea.

Formed in 2017, the current lineup consists of Irene (vocals), Vangelis (guitar), and Alex (synth/sampler). Their signature lies in multi-layered soundscapes combining exotic, folk-influenced vocals, earth-shaking heavy guitar, and ethereal shoegaze textures. The album title, Eva, references the biblical Eve, and features lyrics in Greek for the first time, lending a shamanic, mystical quality that transforms myth into sound.

A standout track is #3 “Eva,” where tribal percussion underpins the mystical vocals as they gracefully unfold. Doom-inflected guitar emerges in the latter half, gradually increasing tension and evoking a ritualistic crescendo. The result is a majestic piece that feels like Dead Can Dance interpreted through a doomgaze lens. From bedroom introspection to Edenic grandeur, the album exudes a distinctly Greek aura. Fans of Dead Can Dance, Chelsea Wolfe, and Shedfromthebody will find much to appreciate.

The second album from Los Angeles–based producer/musician Max Epstein’s project Photographic Memory.

Released via US indie label deadAir Records, Photographic Memory has been active under this name since 2013, while Epstein has contributed to recordings and live support for Quannnic, Militarie Gun, and Cold War Kids. He has also been involved in Wisp’s Pandra era, supporting the If Not Winter tour and collaborating onstage, showcasing his versatility across projects.

Early work centered on dreamy bedroom pop and dream pop, but this album expands into emo-rap, indie electronica, and Nu-Gaze, demonstrating a wide-ranging sonic palette. Notable tracks include #8 “Clearly,” a refreshing electro-pop number reminiscent of Porter Robinson; #10 “Born 7:7 (feat. Darcy Baylis),” where ethereal electronica merges seamlessly with heavy shoegaze; #11 “Heartstyle (feat. Wisp),” a synth-laden, danceable track revealing a new side of Wisp; #12 “Love In My Heart,” a heavy instrumental drawing on nu-metal and grunge, with aggressive guitar tones echoing Korn and Alice in Chains; and #17 “Spill (feat. Kraus),” a melancholic heavy shoegaze highlight featuring thick guitar walls and soft vocals, showcasing Kraus’ signature touch.

Polished through his production experience, this album reflects Epstein’s cross-genre fluency. As a next-generation shoegaze artist, his work alongside Wisp marks him as one to watch.

The debut album from Australian blackened doom metal duo Spiine.

Spiine was formed as a collaboration between Virgin Black guitarist Sesca Scaarba (Samantha Escarbe) and former Ne Obliviscaris vocalist Xen (Marc Campbell). The band name, meaning “spine,” symbolizes the fusion of their creative cores and a shared commitment to convey the dark, miserable despair that defines their music. The double “i”s in both the band name and track titles emphasize this mutual bond.

The album features drums by Waltteri Väyrynen (Opeth, ex-Paradise Lost) and bass by Lena Abé (My Dying Bride), assembling one of the most formidable lineups in modern doom. While Virgin Black was known for orchestral grandeur and choral arrangements, Spiine strips back embellishments to focus on guitar-driven funeral doom. Xen’s expressive screams and growls depict sorrow, pain, and despair, plunging listeners into an uncompromisingly cold and merciless dark world.

The album unfolds over four intense tracks:

#1 “Myroblysiia”
Blends funeral doom-style long tones with brooding tremolo riffs, weaving doomgaze, post-rock, and DSBM influences. Introductory piano echoes under mournful guitars reminiscent of MONO performing a requiem. As heavy long tones emerge, solemn orchestral lines merge with Xen’s guttural roar, pulling the listener into the abyss.

#2 “Glaciial”
Pairs crushing, oppressive guitars with Xen’s growls in a relentlessly dark doom landscape. Heavy strings bring a fleeting glimmer of light, but Sesca’s guitar and Xen’s vocals soon drown it in darkness. The melancholic guitar work toward the end stands out as a highlight.

#3 “Oubliiette”
Uses tremolo riffs effectively to create a hybrid of funeral doom and DSBM. Layered orchestral textures contribute to what is perhaps the album’s most “gaze”-infused track.

#4 “Wriithe”
Opens with ghostly moans, crawling through shadowed, oppressive riffs. A quiet, ethereal interlude offers a brief light, before shifting into black metal-inspired bursts. The track closes with mournful, requiem-like melodies, returning the spirits to the abyss.

True to its title Tetraptych, meaning “a series of four panels,” the album delivers a concentrated one-hour journey across four elaborate compositions—an exceptional treat for fans of dark music. While firmly rooted in funeral doom, its relatively melodic accessibility may appeal to listeners of dark doom-gaze bands such as FVNERALS and Presence of Soul.

As of December 2, 2025, Lena Abé (My Dying Bride) officially joined as a full member. This indicates that the project will continue, and fans should stay tuned for future developments.

he 13th album from Atlanta-based lo-fi dream pop artist Orchid Mantis.

Orchid Mantis is the solo project of singer-songwriter Thomas Howard. Previously known for creating lo-fi, nostalgic indie pop and ambient music that gently lulled listeners into dreamlike states, this release shifts the focus toward the brooding slowcore of the ’90s, evoking artists such as Low, Bedhead, and Codeine.

Guitars drenched in deep reverb ripple like rain in the twilight, while Thomas’s vocals emerge ghostlike from the sparse arrangements. If past works felt like napping in a sunlit meadow, this album might be likened to waking up in a morgue at midnight.

A pervasive cold yet sweet melancholy fills each track, making it ideal for sinking into quietly. Standout track #4 “All The Passing Days” features a funeral-like, wistful melody that quietly turns beautiful memories to ash.

The consistently slow tempo may feel flat to some listeners, but the careful alternation of vocal and instrumental pieces provides subtle rises and falls that maintain interest. The artwork already hinted at something unusual, but the musical transformation exceeded expectations.

The first EP from Osaka-based shoegaze / alternative rock band Sanzameku.

Formed on March 26, 2023, Sanzameku’s debut EP features Pen (guitar/vocals), Akane (guitar), Sima (bass), and yuyA (support drums). While often framed within shoegaze, the band’s sound appears to extend well beyond genre boundaries, weaving together a range of expressive elements into a distinctly dark and emotive aesthetic.

Fragile, delicate passages recall the ethereal qualities of Sigur Rós, while the tension between poetry reading and emotional surges suggests parallels with envy. At times, Pen’s delivery—singing subdued, shadowed emotions in Japanese—may also bring to mind Tsukiko Amano. Rather than settling into conventional shoegaze tropes, these influences intersect to form a highly individual sonic world. The contrast between stillness and eruption is particularly striking, guiding the listener through shifts that feel as expansive as a journey from sunlit grasslands to the depths of a darkened sea.

Central to this dynamic is Pen’s vocal performance. Moving fluidly with the band’s dramatic rises and falls, the vocals range from gentle whispers to piercing, emotionally charged cries that cut through walls of sound. The lyrics, written in Japanese, circle raw emotions such as sorrow, pain, and grief, their nuances heightened by the language’s natural shading and cadence.

Sanzameku – “Karyu Ni Naku” Track-by-Track

#1 “Koubou”
An elegant introduction in which light-filled guitar tones merge with fragile whisper vocals, setting a luminous yet restrained opening mood.

#2 “Zanmei”
Built on a slow, post-rock-like progression, the track gradually increases tension before releasing it in a cathartic surge of beautiful noise.

#3 “=rand(scp)”
Swirling noise collides with a bleak melody, cutting sharply across the listener like a cold blade. The darkest piece on the EP; the title is reportedly read as “Dummy Scape.”

#4 “Ibuki”
A boundary-pushing track driven by tribal rhythms that draws the listener into a trance. The cascading guitar lines are strikingly radiant, approaching something almost sacred in tone.

#5 “Shizuku No Naka No Suisei”
A delicately balanced soundscape on the verge of collapse, underscored by the repeated phrase “I didn’t want to know.” Sudden waves of heavy sound break the calm before receding again, intensifying the song’s sense of longing.

#6 “Fuyuu” (CD-only bonus track)
Featuring Mai Kuroda of Okayama shoegaze band little lamplight, this track showcases lush, heavy shoegaze at its most expansive. The dense textures created by triple guitars and a strong melodic core make a compelling case for the CD edition alone.

Across six tracks, light and darkness, beauty and madness, stillness and motion intersect in constant flux. This EP offers a concentrated expression of Sanzameku’s aesthetic vision. In addition, venue-exclusive demo releases reportedly include several live staples—each worth seeking out for those attending shows.

Following this release, Nagisa Kanzaki officially joined on drums, marking the band’s full-scale launch. True to the meaning of their name—clamor—Sanzameku appears poised to raise a collective voice and energize the Japanese shoegaze landscape.