BEST OF
DARK
SHOEGAZE & DREAMPOP
2025

The third EP from Texas metalcore band fromjoy.

Based in Houston, fromjoy present this release as the concluding chapter of the Icarus narrative that has unfolded since their debut EP “It Lingers.” While metalcore remains the foundation, the band further expands its palette by weaving in breakbeats, drum and bass, hyperpop, and vaporwave, pushing their hybrid style into more exploratory territory.

A major turning point arrived in August 2024, when lead vocalist Denver Dowling departed. Guitarist and backing vocalist Kellan King subsequently shifted into the role of primary vocalist. This lineup change appears to have accelerated a stylistic evolution: while maintaining the band’s metalcore–electronic fusion, fromjoy significantly increases the presence of clean vocals from guitarist Giovanni Alani. The result suggests a more melodic and atmospheric direction, with shoegaze textures now playing a visible role in shaping the sound.

Highlighted tracks

#1 “Etana”
Opening with a sample from the previous EP’s closing track “Icarus,” this brief introduction underscores the narrative continuity of the project, framing the EP as a direct extension—and conclusion—of the story.

#2 “Monochrome”
The track begins with an ethereal, electronic introduction reminiscent of new age and trip-hop, before shifting into a melancholic, heavy shoegaze passage that may recall Deftones. In the latter half, the floating ambience gives way to a sudden breakdown built on an oppressive, Vildhjarta-like riff. The prominence of clean vocals reportedly surprised some longtime listeners, though positioning this song as the lead single seems intended to signal a new chapter for the band. It stands as one of the EP’s most defining statements.

#3 “Eternal.Harvest”
Here, aggressive metalcore sections transition sharply into shoegaze-laden choruses. Dreamlike electronic layers intertwine with clean vocals, adding contrast and depth. While fromjoy have featured clean vocals before, the integration feels more organic this time, enhancing the shoegaze character of the track.

#4 “Ataraxia”
Following the metalcore–shoegaze crossover established in “Eternal.Harvest,” this track introduces an ambient passage accented by piano in its latter half. The blurred, glowing textures evoke a digital, otherworldly light, suggesting both the end of the Icarus saga and the beginning of something new.

Artwork and narrative

Viewed in release order, the artwork reinforces this transformation. “Monochrome” depicts a powerless Icarus connected by wires; “Eternal.Harvest” presents a cocoon-like state of transition; and the EP “Ataraxia” culminates in an image of rebirth, with Icarus reimagined as a radiant, winged being. The progression appears to suggest a fallen figure gaining new life and ascending once more—an apt visual metaphor for the band’s own renewal.

Worldbuilding and influences

fromjoy’s aesthetic draws heavily from early digital art, particularly the cyber visuals of the PlayStation 2 era, as well as the anime serial experiments lain. On earlier releases such as the breakcore-leaning EP “away,” the track “Digital Armageddon” even incorporates spoken lines from the anime. Giovanni Alani’s frequent appearance onstage in lain T-shirts further hints at a deep personal affinity. Notably, the illustration used for the first pressing of the band’s self-titled vinyl—bearing a striking resemblance to Lain—was reportedly created after the designer instinctively sensed that influence from the band’s sound alone.

The enduring global reach of lain continues to resonate in unexpected ways.

Taken together, this EP reads as a declaration of rebirth for fromjoy. Whether the band ultimately becomes a bridge between metalcore and shoegaze remains to be seen, but their trajectory is compelling. Compared with more extreme hybrids such as Kardashev’s deathgaze, fromjoy’s approach appears more accessible to traditional shoegaze listeners, which may broaden its appeal. As artists exploring this crossover continue to increase, this strain of Nu-Gaze-adjacent metalcore could well be the next movement to watch.

The debut album from Thai shoegaze band Slowwves.

Formed in Bangkok in 2023, Slowwves released this first full-length via Japan’s long-established label P-VINE. The current lineup consists of Jill (Iya Ngoentaweekoon) on vocals and guitar, Peem (Juckapob Lamulpak) on guitar, and Jump (Pawaris Chotnikhom) on drums. Peem initially met Jill through a mutual friend and was drawn to her musical sensibility; the band solidified its present form when Jump joined following a Slowdive tribute event.

Though all members are still in their early twenties, Slowwves quickly attracted attention among shoegaze listeners with their debut single “Anywhere Else,” released on March 1, 2024. The band’s name derives from “slow-wave sleep,” evoking the calm and stillness of deep rest—a fitting metaphor for their sound. Citing influences such as Slowdive, Mazzy Star, Megumi Acorda, and Zweed n’ Roll, the trio crafts a style that is both dreamy and weighty.

Their music appears to merge Wisp’s ethereal haze with the denser, more grounded heaviness associated with acts like Glixen, while emphasizing fluid lead lines and expressive guitar solos. This balance between atmosphere and melodic clarity forms the core of Slowwves’ identity. Where Wisp often leans toward angelic or fairy-like fantasy, Slowwves suggests a more realistic and decadent aesthetic, grounded in melancholy rather than escapist gloss.

Jill’s vocal performance is particularly striking. Her voice, delicate yet resolute, suggests a faint but persistent light cutting through the darkness of a closed-off, directionless modern landscape. In this sense, the album title “Perfect Evasion” feels apt: the record offers a temporary release from the pressures of reality without denying their weight.

Highlighted tracks

#1 “Anywhere Else”
Built around a wistful lead guitar and a soft vocal line that seems to dissolve into the quiet of the night, the song’s refrain—“I wanna be there with you / just run away”—captures the band’s emotional core. It stands as a concise statement of Slowwves’ aesthetic and one of the album’s defining moments.

#2 “Labyrinth”
A faster-paced track driven by sharper guitar riffs, “Labyrinth” injects a sense of motion into the album. The surge from the guitar solo into the final chorus suggests a live favorite in the making.

#3 “SWS”
Named after slow-wave sleep, the track unfolds at a relaxed tempo, gently oscillating between deep rest and shallow awakening. The result evokes a state where dreams and reality begin to blur.

#5 “Sen”
The title references Spirited Away, drawing from the protagonist Chihiro’s given name, “Sen.” With lyrics closely tied to the film’s narrative, this track rewards careful listening. Its bittersweet chorus leaves a lingering emotional impression.

#7 “Evangeline”
A collaboration with Thanakarn Tangjaiyen of fellow Bangkok shoegaze band Death of Heather, the song is structured as a vocal handoff: Slowwves leads the first half before passing the spotlight to their guest. The track concludes with a unison surge of reverberant noise, bringing the album to a cathartic close.

Taken as a whole, this is an impressively cohesive debut, underscoring the strength of a new generation of Asian shoegaze artists. Its melodic accessibility also makes it a suitable entry point for listeners new to the genre.

Beyond the record itself, Slowwves are steadily expanding their presence both domestically and internationally. In Thailand, they have supported Wisp’s Bangkok show alongside Death of Heather, while also sharing stages with Japanese acts such as AprilBlue, Asunojokei, Suichu Spica, and cephalo. Their upcoming appearance at SXSW Sydney 2025 further suggests growing international momentum.

With Japanese tour dates already confirmed in support of “Perfect Evasion,” Slowwves appear well positioned to serve as a bridge between the Japanese and global shoegaze scenes—an evolution well worth following.

More information : Slowwves’ Japan shows

The third full-length album from Arizona-based deathgaze band Kardashev.

Released via Metal Blade Records, home to acts like Killswitch Engage and Cannibal Corpse, the album continues to explore the band’s signature fusion of death metal and shoegaze—dubbed “deathgaze” by guitarist Nico Mirolla. Kardashev was formed in 2012 and gained recognition with their 2nd album Liminal Rite (2021), which helped define the genre by blending extreme metal aggression with shoegaze-style emotional expansiveness.

The lineup for Alunea consists of Mark Garrett (vocals), Nico Mirolla (guitar), Alex Rieth (bass), and Sean Lang (drums). The album’s concept continues the band’s interest in science fiction, using the constructed language “Alunea” introduced on the EP The Almanac to depict dialogues between main characters Atlas and Sky-Brother. This functions much like Magma’s Kobaïan, serving as a narrative device within the Kardashev universe.

Musically, Alunea retains the technical prowess of prior releases, with dynamic interplay between clean vocals and harsh growls, intricate guitar work, and complex rhythmic structures drawing from prog, post-metal, and deathcore. Compared with Liminal Rite, the shoegaze/atmospheric elements are somewhat reduced, leaving a sound that leans more toward progressive/post-metal fused with deathcore. While clean/harsh vocal contrasts are not unique to deathgaze—Opeth and other bands have explored similar dynamics—the album still demonstrates impressive composition, tension-and-release structuring, and vocal expressiveness.

For listeners intrigued by the album’s narrative world, attention to the lyrics is recommended. The story conveyed through Alunea presents a sprawling, philosophical sci-fi universe reminiscent of Arthur C. Clarke’s Childhood’s End or Greg Egan’s Diaspora. A publicly available Alunea dictionary allows fans to decode the language and deepen their understanding of the album’s concept.

While deathgaze as a genre remains in development and is not yet fully distinguishable from other metal/shoegaze hybrids, Alunea highlights Kardashev’s progressive vision and remains essential listening for fans of technically sophisticated, narrative-driven extreme music.

Previous review: Kardashev - The Almanac‍

The 12th album from Miami-based synthwave artist Trevor Something.

Trevor Something began releasing music in 2013, debuting with “Synthetic Love” in 2014. Featured on the YouTube synthwave channel NewRetroWave, the album quickly gained attention, with tracks like “Fade Away” and the 2014 mixtape Trevor Something Does Not Exist surpassing 5 million streams by August 2025. Over the years, he has blended synthwave with ’80s new wave, goth, and post-punk influences, crafting a darkly romantic, uniquely atmospheric sound. Despite a cryptic remark around the 2022 release “The Death Of” suggesting it might be his final album, Trevor Something continued releasing music with “Archetypes” (2024) and the present record “The Shadow” (2025).

“The Shadow”, created between 2019 and 2024 and mixed over roughly a year, explores the album’s namesake concept: the shadowy, hidden aspects of the ego. As Trevor Something explains, understanding one’s dark side allows harmony between light and darkness. Musically, the album is his darkest and most melancholic yet, cloaked in aurora-like synth textures, minimal bass and kick patterns, and smooth, ethereal vocals that feel like elegies drifting through a neon-lit cityscape. Fans of his prior work will also recognize the goth-infused decadence reminiscent of his covers of The Cure and Depeche Mode.

Highlights include:

#6 “Cruel Intentions” – Cold, John Carpenter-inspired piano motifs gradually give way to a cathedral-like, choral outro, a masterful shift in atmosphere.

#7 “Numb The Pain” – A comparatively upbeat and catchy track featuring crystalline synth tones that shimmer with clarity.

#9 “Cry Until I Die” – Enveloped in some of the deepest reverb of Trevor Something’s discography, this track evokes the ethereal industrial rock of HEALTH, adding depth uncommon in standard synthwave.

“The Shadow” is recommended not only for synthwave fans but also for listeners of goth, darkwave, post-punk, dream pop, and shoegaze—particularly those drawn to House of Harm, CD Ghost, and HEALTH.

For those wondering where to start in his extensive catalog, my personal guide:

【Pop】

• Bots Don't Cry (2019)
• Love Me and Leave Me (2021)

【Dark】

• Deep Wave Data Dark Web Daemons (2020)
• The Shadow（2025）

【Shoegaze / Post-punk】

• Die With You（2017）

【Dream pop】

• The Death Of（2022）

Every album maintains a high standard, so in short: “you can start anywhere and be assured of quality.”

The latest EP from Nashville-based solo shoegaze artist greedi.

Known for heavy, melancholic shoegaze that draws lineage from Whirr and Deftones, the EP immediately immerses listeners in a chilling atmosphere with the opening tracks #1 “Writhe” and #2 “Like You.” #4 “Soft Crash” explores driving, high-energy shoegaze, while #5 “Safe” drifts in a Slowdive-esque shimmer, evoking the grandeur of sunlight spreading across a snowy plain. This range demonstrates a clear expansion of expressive scope, and among the younger Nu-Gaze acts, greedi stands out for maintaining a strong, traditional shoegaze sensibility. The vocals are notably skillful, and the overall potential of the EP is high.

That said, the production still retains a DIY feel, suggesting room for further growth. With refined production and the addition of a stronger personal signature, future releases could become even more compelling. Since the self-produced single “fatty,” greedi has embraced greater creative control, noting that it allows “the full spectrum of self-expression to be embedded into each track.” Listening confirms a tangible increase in sonic presence and depth, signaling exciting developments ahead.

The first full-length album from UK shoegaze band OVERSIZE.

Released via SharpTone Records, home to artists like Loathe and Paledusk, the album was recorded with the lineup of Sam Shutler (drums), Sam McCauley (vocals), George Lewis (bass), Tazz Edwards (guitar), and Lewis Lennane‑Emm (guitar). Following two EPs, this debut centers on the theme of grieving and acceptance, inspired by McCauley’s personal experience of losing his mother.

OVERSIZE blends elements of ’90s alternative rock, emo, and grunge with a heavy, immersive sound. Their signature crashing guitars echo Swervedriver and Catherine Wheel, while this album leans into a more atmospheric and introspective approach.

#1 “Stalling” opens the record gently, while #2 “Are You With Me?” escalates with heavy backing riffs and melodic lead guitar. #3 “Fall Apart” offers a melancholic counterpoint, adding depth to the album’s emotional landscape. #4 “Something Clean” moves from fragile melodies into a dramatic cascade of shouts and rapid-fire drums, showcasing dynamic composition.

#8 “Salt,” a collaboration with Heavenwards, incorporates deep reverb to evoke the shadowy, moody textures characteristic of UK shoegaze. Each track maintains its own identity, with carefully managed tension and release, keeping the listener engaged throughout.

This debut firmly establishes OVERSIZE as a distinctive presence in the competitive heavy shoegaze scene. Fans of Split Chain and Leaving Time will find much to appreciate.

The first full-length album from San Francisco shoegaze artist Wisp (real name Natalie R Lu).

Released via Interscope Records—the label behind top-tier artists like Billie Eilish, Kendrick Lamar, and Lady Gaga—this debut LP marks a major step in Wisp’s meteoric rise. Many will be familiar with her Cinderella story: at 18, Natalie’s single “Your Face” went viral on TikTok, leading to a contract with Interscope and the launch of her professional career. She followed with the 2024 EP “Pandora”, performed at Coachella in 2025, and opened for major acts including System of a Down and Deftones, quickly evolving into a fully realized live band. With this momentum, Wisp has become one of the most talked-about names in contemporary shoegaze.

Produced over roughly a year, this album expands Wisp’s sonic palette and pushes the boundaries of shoegaze. Mixing by Lars Stalfors (St. Vincent, Soccer Mommy) and Stephen Kaye (Laufey, Ziggy Marley), with mastering by Ruairi O’Flaherty (Phoebe Bridgers, boygenius), elevates the sound to a new level: distorted guitars crash without harshness, and the delicate, whispery vocals are rendered in exquisite detail. Compared to “Pandora”, the improvement is immediately apparent.

Highlights include:

#1 “Sword” opens with folk-inspired guitar and misty, fragile vocals before powerful drums erupt, unleashing a wall of sound that jolts the dreamlike listener into the story’s beginning.

#5 “Guide Light” evokes My Bloody Valentine with psychedelic, crashing shoegaze. Its gradual descent into slower, heavier passages will delight fans of dense, immersive walls of sound.

#7 “If Not Winter” channels slowcore to convey the sadness of parting, with a poignant piano outro that leaves a lingering emotional impact.

#8 “Mesmerized” is one of Wisp’s rare uptempo tracks, its soaring chorus melody bursting with energy.

#9 “Serpentine” balances tender lyricism with catchy hooks, carrying faint echoes of ’90s–’00s J-pop, from artists like the brilliant green or Aika Ohno.

#11 “Black Swan,” produced again with Kraus, ranks among Wisp’s heaviest shoegaze offerings and serves as one of the album’s highlights. The piercingly beautiful vocals slice through the noise, creating a striking counterpart to the earlier Kraus-produced track “Pandora”.

#12 “All I Need” closes the album on a pastoral, acoustic note, conjuring imagery of thawed snow and verdant meadows.

Despite contributions from multiple producers and composers, the album’s vision remains unified—a testament to professional craftsmanship. The music videos reinforce this narrative world, featuring Wisp as a heroine awaiting rescue in a castle, or transforming into an armored knight, maintaining a fantastical continuity that echoes her angelic depiction on “Pandora”.

With 12 tracks that refine Wisp’s shoegaze signature while embracing new creative directions, the album far surpasses its predecessor in emotional impact. Unlike the early critiques that dismissed her as a TikTok-fueled phenomenon, Natalie’s full compositional involvement is evident across the record, making such dismissals obsolete.

This release stands as a defining work for modern shoegaze (Nu-Gaze), and may well become a milestone in the genre’s 2020s renaissance. Its influence on the increasingly crowded Nu-Gaze scene—whether to intensify the wave or mark its consolidation—remains to be seen. Leading up to the release, Wisp already had 3.07 million monthly Spotify listeners, making her next moves highly anticipated.

As a fan, one can only hope for her continued success—and look forward to the eventual Japanese tour. Having emerged from the winter of “Pandora” into the spring of “If Not Winter”, one wonders whether Wisp’s next chapter will herald a “summer” of poppier, more hook-driven shoegaze. Tracks like “Mesmerized” hint that the door is already ajar.

Previous review: Wisp - Pandora

The second album from Italian cosmic doomgaze duo Hermyth.

Formed in 2021 by Nick Magister (guitar, synth, drums) and Therese Tofting (vocals), Hermyth carries a strong lineage from doom metal—Nick previously played in Ghostheart Nebula, while Therese was part of Funeral Void. The band name likely blends Hermes, the Greek messenger god, with the concept of myth. Their sophomore release, “Aether”, takes its title from the classical “fifth element” once believed to fill the heavens. Though scientifically obsolete, the term remains symbolic of otherworldly beauty—a quality reflected throughout the album’s sound.

Sonically, “Aether” marries majestic keyboards and shimmering guitar with Therese’s ethereal vocals, perfectly evoking the album’s celestial theme. Compared to their debut, the guitar tones here glisten more and the vocals are pushed forward, slightly reducing the immersive, shoegaze-like haze of the earlier work. Nevertheless, song lengths remain relatively concise, and the focus on vocal melodies offers a more accessible experience for listeners who might find doomgaze or post-rock’s typical expansiveness challenging—a contrast to longer-form projects like ISON.

#1 “Heavens” features sparkling guitars and synth waves reminiscent of starlight, paired with fleetingly beautiful vocals, conjuring a sense of astral flight and spiritual transcendence. One might liken it to a doomgaze reimagining of Noriko Watanabe’s “Phoenix”.

#2 “Aether” draws on folk and traditional music for an exotic, mystical atmosphere, evoking the ancient experience of finding mythological meaning in the stars and approaching the heavens with reverence.

#5 “Divination” features guest vocals from Gogo Melone (Aeonian Sorrow), whose vibrato-laden performance adds a fiery counterpoint to Therese’s serene voice—if Therese represents a cool blue Rigel, Melone blazes like Aldebaran.

#6 “The High Priestess” is the album’s most atmospheric piece, fully immersing the listener in the world of “Aether”. Its ten-plus-minute runtime allows for slow absorption, evoking a vast starry sky behind closed eyelids.

While shoegaze textures are somewhat restrained, Hermyth’s mythic cosmic vision remains fully intact. Surrender to the aether and enjoy this 44-minute interstellar journey.

The second album from Australian cinematic post-metal band Myriad Drone.

Originally launched in 2016 as a solo project by Shane Mulholland, Myriad Drone evolved into a full four-piece the following year. After two lineup changes following their debut, the current formation features Shane Mulholland (Gt/Vo), Jacob Petrossian (Gt), Simon Delmastro (Ba), and Frankie Demuru (Dr). Their 2019 debut “Arka Morgana” was ranked #5 on Where Post Rock Dwells’ Best Albums of 2019 list, and has since been widely cited as a standout within modern post-rock and adjacent scenes.

Arriving six years later, “A World Without Us” appears to frame itself around the notion of an apocalyptic or post-human world—an impression suggested by both its title and its cover art, which recalls the dystopian tone of the film The Pink Cloud. Sonically, the most notable evolution lies in Mulholland’s vocals. Clean vocals are pushed significantly further forward in the mix, while harsher screams are introduced more prominently, sharpening the contrast between fragile lyricism and visceral aggression. His clean delivery is particularly delicate and luminous, inviting comparisons to Jónsi (Sigur Rós) or Neige (Alcest), though the influence remains suggestive rather than explicit. The material also leans slightly closer to post-rock than before, adopting a more pastoral atmosphere that subtly echoes Alcest’s melodic sensibilities.

#1 “A World Without Us” opens with restraint before erupting into dense walls of sound and emotionally charged vocals. Its post-rock dynamic of quiet tension and explosive release is offset midway by a sudden shift into folk-tinged choral passages, moving toward an Alcest-like unison of vocals and melody. Despite its ten-minute runtime, the track establishes the album’s scope with ease.

#2 “Forlorn Hope” layers crushing guitars beneath ethereal clean vocals and feral screams, evoking something akin to a final, mythic confrontation. As the label has noted, the track balances post-rock and shoegaze elements while pushing toward a darker overall palette, making it one of the album’s most representative statements.

#3 “DYHAMTTAJ” unfolds as a grand, progressive piece, where intricate rhythmic shifts support soaring, almost sacred vocal lines.

#4 “Longing” highlights Mulholland’s clean vocals within an elegant post-rock framework, gradually building toward a cathartic crescendo of overwhelming distortion.

#5 “Disharmonia” veers into blackgaze territory, driven by blast beats and tremolo picking. Brief flashes of clean vocals introduce a glimmer of light before being swallowed by noise again, suggesting a struggle against inevitable collapse.

#6 “Whereabouts Unknown” begins with a TOOL-like odd-meter groove and a ritualistic, folk-inflected introduction. Tension accumulates steadily until it resolves in a majestic, choir-like climax. Developed from an initial drum pattern conceived by Frankie Demuru and expanded collectively by the new lineup, the track points toward new terrain for the band. While “TOOL meets shoegaze” remains a relatively rare convergence, it has begun to surface more frequently—and this may be one of its more compelling realizations to date.

The closing #7 “Valediction” withdraws into a subdued, quietly melancholic melody, allowing the album to fade out with a sense of stillness. That final calm suggests a world after humanity’s disappearance, reinforcing the album’s broader thematic arc. “A World Without Us” can be read as a kind of requiem for a vanishing species, and stands as one of the more accomplished post-rock / shoegaze-adjacent releases of the year. Fans of Sigur Rós, Alcest, or Holy Fawn will likely find much to appreciate here.

Previous review: Myriad Drone - Arka Morgana

The 2017 EP from Japanese shoegaze project Ame no Naka no Uma.

Originally released in 2017, this EP by Ame no Naka no Uma received its first physical edition in 2025 via the Chinese indie label Amemoyo. The newly released streaming version is presented as a two-disc set, split into Disc 1 and Disc 2.

Centered around Akihiro Nio (guitar/vocals), Ame no Naka no Uma operates primarily as a solo project. On this release, Nio handled every stage of production himself—from songwriting and recording to mixing and mastering. Support members Keisuke Yoshimura (guitar/vocals), Rintaro Yamamoto (bass), and Saki Miyamoto (drums) are credited, and Disc 1 in particular captures a noisy, performance-driven shoegaze sound with a strong sense of live immediacy.

#1 “Triste” opens with siren-like guitar noise that howls and swells, gradually dissolving into a mournful vocal line. The result suggests an ideal form of melancholic shoegaze—immersive, emotionally direct, and finely balanced. Nio’s innocent vocal tone, which carries both sweetness and pain, may recall ART-SCHOOL’s Riki Kinoshita, aligning closely with the song’s title and its expression of sorrow.

Following this, #2 “Dancer In The Dark” shifts into a full-bodied wall-of-sound dance track. Its explosive momentum and melodic phrasing evoke comparisons to Supercar’s later-period classic “Yumegiwa Last Boy,” particularly in its cool vocal delivery and the shared emotional vocabulary of longing and desire. Whether intentional homage or unconscious resonance, the similarity adds an additional layer of intrigue.

Disc 2 presents home-recorded versions of the same material. Stripped down and lo-fi, these takes emphasize fragility and intimacy, revealing entirely different emotional contours within familiar songs. The contrast between the two discs underscores the project’s flexibility—demonstrating how texture and production alone can dramatically reshape perception.

A new track was uploaded to SoundCloud approximately a year ago, suggesting that Ame no Naka no Uma remains active. For listeners drawn to melancholic Japanese shoegaze with both rawness and sensitivity, this EP offers a compelling point of entry well worth revisiting.