Tag: Sungaze

I Like These New Songs (Pt. 2)

Here is the long-awaited sequel to my blockbuster previous post, “I Like These New Songs (Pt. 1).” For any new readers who are unsure of what is going on: when we left off, I was linking to new songs I liked and then writing paragraphs about them. Since the first post was such a wild success, I figured I wouldn’t divert from that formula — it would be like making a Fast and the Furious movie without car races or whatever they’re doing in those now.

Colleen Green – “I Wanna Be a Dog”

Many words — some of them rather embarrassing — were spilt on the blog over Colleen Green’s last full length, I Want to Grow Up, which I then insanely listed as the #2 album of the decade when no other person who does things like ranking albums even thought it was good. Her new single, “I Wanna Be a Dog,” is another showcase of her unique gifts: while she may lack traditional ambition and creativity, she makes up for it tenfold with authenticity and (despite her tendency towards self-deprecation) a confidence in who she is. Green is in typical catchy and relatable form here, using various dog metaphors (the leash she puts on herself, barking at a closed door) to articulate her ongoing struggles with being an adult and overcoming insecurities. It’s fun to listen to, partially because it is so personality-driven and unpretentious compared to a lot of tedious indie dreck.

Angel Olsen – “Gloria”

In another career move aimed at me personally, Angel Olsen is following up All Mirrors and Whole New Mess with an EP of 80s covers, starting with this reimagining of Laura Branigan’s “Gloria.” If the measure of a cover’s quality is how well the artist adapts it to their own style, this scores highly. The original is in there somewhere, but for the most part Olsen has turned this into one of her typical swooning ballads, with swelling synths and some strings. Olsen sings like she really feels the words rather than the typical “wouldn’t it be cool and fun if I covered this song” vibe that sometimes makes covers boring and inessential.

Sungaze – “Body in the Mirror”

As someone who is on Bandcamp a lot and gets frustrated by soft pop artists who call themselves things like Satanic Witch Torture, I respect Sungaze’s straight-forward band name — this Cincinnati group sounds exactly like you’d expect, with a dreamy, psychedelic sound that is in the highly trafficked Mazzy Star area. What makes them just different enough from that band (and others like Widowspeak) is their embrace of more droning song structures that really let the sound wash over the listener. “Body in the Mirror” is a typical song from them, running over five minutes with some spacious guitar parts and simple lyrics that add some meaning without being too obvious about it.

Desert Liminal – “New Tongue”

It’s rare to find a band that truly has a unique sound, but Desert Liminal’s 2017 debut Static Thick had its own blurry, ambiguous, kind-of-poppy-but-not-really thing going on. The band has added a member and increased the production values a bit since then, but “New Tongue” still maintains their individuality. Sarah Jane Quillin’s rich vocals blend into the droning synths and her lyrics are real poetry, with personal details and the rhythmic sound of the words adding to the haunting, mysterious vibe of the sound.

Nation of Language – “Across That Fine Line”

This synth pop group made my coveted top albums list last year with their first full-length, Introduction, Presence, and are quickly following it up with an album that should lead to a break out of sorts. Generally I understand that the music I enjoy is wildly unpopular and most normal people would recoil in disgust at the mere sound of it, but I don’t know — listen to the soaring, anthemic chorus on “Across That Fine Line” and tell me it wouldn’t appeal to normies who enjoy bands like U2 and Coldplay. I’m already preparing my snide comments about how I liked them before they got big.

Look At All This Shoegaze I Found

Even though I love shoegaze, I never feel all that inspired to write about it. It rarely has the overt themes that can lead into essays and I think the appeal of it is that it’s vague and can take on different shapes and moods depending on the listener. So instead of blathering on about whatever, I thought I’d share some of my favorite shoegaze from this year and then anyone who stumbles upon this post can listen to the songs via the links provided. I’m still going to write some dumb sentences about the bands so I feel like I did something, but feel free to skip them.

Chestnut Bakery – “Dust”

The internet sucks in many ways, but this is what is cool about it: I know absolutely nothing about the person behind Chestnut Bakery, except that she’s called “Rye,” she lives in China, and was in another band I really liked called Butterbeer. Yet I am able to listen to her music, which is like a twee version of Galaxie 500, filled with longing and beautiful, loud guitar. “Dust” starts out as a tender ballad then goes into guitar overdrive halfway through.

Tennis System – “Shelf Life”

Like many shoegaze bands, Tennis System is pretty much trying to approximate My Bloody Valentine, and does a respectable job of it here with a central riff and hushed vocals that fit the classic shoegaze mold.

Pinkwench – “Tuesday”

Hailing from Baltimore, Pink Wench provide the dirge aspect of shoegaze on “Tuesday” which has crushing riffs that almost overpower singer Sophie Alemi. She sings in a more straight-forward way than most in this genre and her more emotional performance and lyrics separate this from the pack.

Sungaze – “Washed Away”

As a connoisseur of Mazzy Star-adjacent dream-rock, a band called Sungaze will instantly catch my eye. They deliver what the name promised on “Washed Away,” which is a slow, gorgeous ballad in the vein of “Fade Into You.”

Fleeting Joys – “Returning and Returning and Returning”

Fleeting Joys (who won’t allow me to embed this song) might have gotten as close to My Bloody Valentine’s sound as anyone on their first album, Despondent Transponder. They’re back with a new album 13 years later and this closing track is the highlight, showing that the band still knows how to make the druggy, psychedelic sounds they’re known for.

Temple of Angels – “Cerise Dream”

“Cerise Dream” really toes the line between homage and being a complete knockoff, as it sounds so much like Cocteau Twins that it actually freaked me out a bit. My hunch is that a lot of bands would love to sound like this, even at the cost of being original, so I’m leaning towards this being good even if it’s so obviously in the shadow of another band.

Cosmic Waves – “Control”

This band from Denmark only has like 30 monthly listeners on Spotify for some reason, even though this is an earwormy bass-driven pop track that reminds me of a less intense version of Curve.

The Holy Circle – “Free and Young”

There are few innovations left to make in shoegaze, which makes it cool to hear a band tweak the formula a bit. The Holy Circle do that by combining the guitars with straight-forward balladry from singer Erica Burgner-Hannum, who proudly proclaims herself to be a mom-rocker. I’m guessing not all shoegaze fans will be into such a different vocal style, but I think it works well (plus I support the idea of mom rock in principle).

Rev Rev Rev – “Clutching the Blade”

Rev Rev Rev’s Des Fleurs Magiques Bourdonnaient was one of my favorite shoegaze albums of the last few years, and this is the first track from its follow-up. It’s in the same mold as the first, which is to say it’s a mix of heaviness and lightness and feels like getting launched into space.

Spotlight Kid – “Shivers”

I hadn’t heard of this band prior to this song, but they’ve been around a few years and have a solid 90s-influenced sound that brings to mind poppier shoegaze groups like Lush.

Westkust – “Swebeach”

The first album by the Swedish group since 2015’s Last Forever is like a sugar bomb with its very loud guitars and sweet melodies.