
Shoegaze, Virginia Woolf, and Dissolute Structures
As with shoegaze’s crescendoing textures, there’s a sheer force of sensory feeling in Virginia Woolf’s verisimilitude.

As with shoegaze’s crescendoing textures, there’s a sheer force of sensory feeling in Virginia Woolf’s verisimilitude.
Shoegaze’s trademark sound, rippling sheets of guitar noise, is endlessly pliable, easily molded into sonic textures smooth and abrasive alike.
Jump back a decade and visit the best indie rock albums of 2013, which include King Krule’s debut, My Bloody Valentine’s return, and Waxahatchee’s brilliance.

Despite all the criticism and perhaps unworthy purple praise, there remains virtually a whole shoegaze movement that people ignore outside of its pink, hazy zenith.

My Bloody Valentine’s ‘Loveless’ offers a gender-bending sonic style that severs the entrenched connections between the electric guitar and masculine phallic power.