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The support band, to my complete amazement, was a shoegaze band-a Mexican shoegaze band. I couldn’t see it.īut things change even by 1993, I was redressing my views. Few of these bands paid even the slightest, fleeting lip service to commerciality. If you had told me in 1991 that, 25 years later, I would be prefacing a list on shoegaze, I would probably have told you it would never happen. Offering another perspective on what it all means is Pete Kember/Sonic Boom, whose early band Spacemen 3 wielded a great deal of influence on the records that follow. From there, our story of shoegaze expands outward, stretching beyond its initial explosion in the early ’90s and incorporating more instrumental contexts and approaches to the style along the way.
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It’s music for dreaming.įor our purposes, we chose as a starting point for shoegaze the years following the release of the Jesus and Mary Chain’s landmark Psychocandy, when the many bands influenced by their approach to guitar integrated the noise into new pop contexts. The extreme noise eliminates the possibility of socializing while the music is playing, leaving each member of the audience alone with their thoughts. And emotionally, shoegaze turns its focus inward. This music is, above all else, a place to explore the outer limits of guitar texture. It’s a particularly unusual genre in that its name describes neither a sound nor a connection to music history. Every music genre has two things in common: 1) No two people agree on its precise boundaries 2) Artists dislike being labeled as such.