By now, it’s commonly accepted that the term shoegaze isn’t the most beloved genre description that NME ever invented. However, quibbles with the term aside, it is difficult to ignore the giant steps that the scene has made in the 20-odd years since My Bloody Valentine’s Isn’t Anything dropped. Indeed, shoegaze has left footprints all over contemporary pop music—from the mainstream to the aspirational to the progressive.
Looking back, it’s easy to see why this is the case. Shoegaze’s trademark sound—rippling sheets of guitar noise—is endlessly pliable, easily molded into sonic textures smooth and abrasive alike. Yet, what is often overlooked is how innovative the rhythm sections of many shoegaze bands were. Since the genre stood squarely at the crossroads of Madchester baggy and jangle pop, many shoegazers infused their Byrdsian chiming with the reverberations of dance music. In many ways, alternative/indie rock’s beat connection started here.