The Wondrous Weirdness of Deerhunter’s ‘Weird Era Cont.’
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Deerhunter’s Weird Era Cont., the companion to Microcastle, lives in its shadow and yet eclipses it with a bizarre brilliance all its own.
Delayed a year due to Covid, the 30th anniversary re-release of In Ribbons by Pale Saints last October is a reminder of how expansive shoegaze can be.
Deafheaven’s Sunbather was the first time a black metal act broke through the clutter of heavy metal releases to be appreciated outside of the genre’s fans.
Quickly after becoming early 1990s shoegaze darlings, Drop Nineteens disbanded. Now, 30 years later, they return with a renewed purpose and a new album.
From the haunted guitars to the impressionist vocals, from the most spell-binding drones to the brisk tempos, this is a Slowdive album through and through.
Ben Golomb of shoegaze band Modern Time Machines sees whole worlds in old things. Beachtime gazes dreamily into the Beach Boys.
Shoegaze’s trademark sound, rippling sheets of guitar noise, is endlessly pliable, easily molded into sonic textures smooth and abrasive alike.
Slowdive’s seminal 30-year-old album, Souvlaki, transcends the negativity that followed its release and carries strength through emotional relatability.
Beach Fossils’ Bunny is a pure, seamless combination of pristine production and newfound maturity with a post-punk-influenced, guitar-driven sound.
With a bloated runtime and a tendency toward monochromatic synth textures, M83’s ninth studio record Fantasy indulges one too many of the group’s clichés.
Flyying Colors find their sweet spot on You Never Know, augmenting shoegaze’s aching coolness to form a potent and satisfying mix.
With her third album, Black Belt Eagle Scout dazzles us with lush atmospheres, seismic rhythms, and a voice that unfurls from another and perhaps a better world.