One of the more enigmatic bands of the classic 4AD era, Swallow was formed by Louise Trehy and Mike Mason, who met in early 90’s Camberwell, London. both were deeply involved with the independent music scene of the time; Louise co-founded Setanta Records (home of The Divine Comedy, Edwyn Collins and Into Paradise with whom Mike would occasionally play), and Mike traversed between bike courier, video director, and lighting designer for Spacemen 3, Slowdive, Spiritualized, Curve and Chapterhouse. Prompted by Louise, they started writing songs together, drawing inspiration from a healthy mix of sources: CAN, noise, post-punk, and American forces of nature like Captain Beefheart and Butthole Surfers. Their first songs quickly surfaced and were recorded…
Category: dream-pop
Radhika Dade’s debut album is a dreamy delight that balances her lovely vocals against varied musical backing that’s exceedingly poppy, but not afraid to gently paint outside the lines. Cine-pop is a fine title for the album; she seeks to make each song a different mood and each could fit a different scene in a film. The lilting ballad “Feline Bandits” would be perfect for a melancholy seaside walk on a rainy day, “Starry Eyes” is a fine soundtrack for a swirling party scene, the jangling girl group inspired “Cocoa Butter Eyes” feels like a falling in and out (and back in) of love montage, and “Sleep” is just right for a scene where the lonely protagonist can’t sleep thanks to a nocturnal obsession. Dade’s voice is a fine vessel for the songs, coming across sweet…
The band, made up of Delphine Lucy Lam and Vlad Swann, are originally from France and are now based outside Philadelphia, Pennsylvania.
The album follows the single ‘Surrender,’ with ‘Qui manque dans ce pays’ as the focus track. Across 11 songs, Fleur Bleu·e move into a more direct sound. The vocals are clearer and more upfront, the reverb is reduced, and the guitars have a rougher edge, while the band’s dream-pop and new-wave melodies remain in place.
The album was written across France, Bulgaria, Mauritius, and the US, during a period of movement between countries and emotional states. After years in cities such as Paris and Los Angeles, the duo moved to a wooded part of Pennsylvania, where the album’s themes of displacement…
Mia Rocha writes music for herself. Releasing songs under the moniker Mia Joy, the Chicago-based artist is the daughter of a poet and a musician, and since a young age, she was encouraged by her father to channel her feelings into music as a way of understanding them.
Taking the advice, she wrote her debut ethereal dream-pop album Spirit Tamer over the course of several emotionally tumultuous years. It captures Rocha’s inner loneliness, cultivates healing, and creates a safe space where she can work through her darkest moments.
“The beginning of writing this album was an incredibly low, dark period and it was also a period where things were just pouring out of me,” she said in a recent episode of Jessica Risker’s…
As humans, we have an inherent desire to connect with those around us. These relationships shape our social interactions and influence us in ways we may not realize, each moment subconsciously ingrained in our decision-making. The people we decide to keep in our lives come with the weight of influence, but unfortunately, these wildly important relationships never hold the staying power they promise. We are all made up of the mistakes, triumphs, and losses that come with building a connection with someone, and how these lessons linger in future relationships. When someone decides to exit your life entirely, their presence takes on a ghostly aesthetic, leaving a void they once filled, and a rush to fill it ensues.
That moment of panic after your support…
The Asteroid No.4 return in 2026 with In Praise of Shadows, their thirteenth full length album and a statement release that reaffirms the band’s enduring place within the modern psychedelic underground.
In Praise of Shadows captures The Asteroid No.4 at their most focused and assured, leaning fully into the shoegaze sound for which they are best known. Swathed in multi layered guitars, dense reverb, and hypnotic melodic drift, the record reflects decades of refinement while retaining the immediacy and emotional pull that has defined the band since their earliest releases.
Formed in Philadelphia in the late 1990s and now based in the San Francisco Bay Area, The Asteroid No.4 have built a reputation…
It’s become fashionable of late for bands to release powerful new albums after extended absences. My Bloody Valentine did it, Slowdive did it and Boards of Canada will be doing it later this year. The fallow period falls somewhere in the middle for Christopher Barnes’ project Gem Club.
They last released an album 12 years ago, but Emerald Press picks up where they left off, albeit with an improved sense of how to use empty space and minimalist arrangements to fill out bedroom pop songs to massive proportions. There are no left turns here, only the same rainy day recordings writ larger.
Barnes has noted in the lead-up to the release of the album that even though Emerald Press is the first Gem Club record since 2014’s…
Fuzz Club are becoming one of the key hubs for all sounds psychedelic – whether it is the music that is fully in vein with the original psych of the late sixties or any of the updated versions from there on to current times. In that respect, to all who follow all things psych, it will probably be no surprise that one of the modern purveyors of psych that are Minneapolis’ Jason Edmonds and his Magic Castles, have found their way to this label with their new offering Realized.
Edmonds, as the bad’s principal songwriter, has always favoured that trippy, dream-like thread that original psychedelia introduced (not much fuzz or energy rush there), giving it that shoegaze/dream pop veneer, but then updated for the new century. Of course, many critics have…
There’s a sense in Misty Coast’s fifth album Always Sun that the Norwegian band has opened the curtains a little. Just enough to let the light in more easily this time around.
The familiar elements are all still there, with arrangements that drift and blur their soft-edged melodies, but now they’re put together with more space and less gauze. It’s not a seismic shift in their sound, but it changes what it’s like to sit with: unusually textured, more gently outlined and, ultimately, not quite as intense.
That softer instinct has been there from the beginning of this project. Formed by Linn Frøkedal and Richard Myklebust after their time in The Megaphonic Thrift, Misty Coast has always worked by easing melody out from beneath…
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings – snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the Preston duo expand upon the dark-hued dream pop of their debut, channelling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside…
With every successive album she makes, Carla dal Forno‘s songwriting becomes clearer, more upfront, and more emotionally direct. She actually intended her fourth solo effort to be more abstract, perhaps closer to the mystery-shrouded experimental work of her earlier group F ingers, but as she was writing the songs, she found that they only made sense when she wrote about her emotional experiences in plain language. Her recording environment also helped shape the directness of the songs. Instead of living in a busy city, she had relocated to a small country town which offered stillness and solitude, making it easier to reflect on her life situations and focus on the truth. That said, even though Confession lays deeply guarded feelings bare,…
When deary, the dreampop three-piece composed of Ben Easton (guitar), Dottie Cockram (vocals, guitar) and Harry Catchpole (drums), named their debut album Birding, it wasn’t just as an homage to our feathered friends, they were referencing the sense of expansion, wonder, and abandon their music evokes. They chose the title to draw attention to the direct impact humans have on the world around us, whether that be nature, or ourselves.
“I got really into reading about birds and all these historical stories and poetry about them,” says singer/guitarist Dottie. “You find these beautiful images of birds that represent hope, but they’re also animals. Some of them, like vultures and crows, are a sign of death to some people. They represent all these different…
Minneapolis trio Spaceport is back with their second album Cut the Lake, with many missing their first offering Window Seat (2023).
Maybe this time around that initial slip will be corrected, as the band’s creative force, multi-instrumentalist and songwriter Arianna Wegley, seems be in full form.
Spaceport’s sound might be in that nether ground many indie bands operate in these days – the subdued guitar rock full of quality melody hooks, with added elements from elsewhere.
Spaceport’s added elements though cover quite a wide ground – on that indie rock base they add folk, classical, and ambient/electronic sounds. Of course, the possibility of a sound mess is there, but Wegley and her band seem to swim…
One of the clearest examples of an album that crafts a strange and beautiful world not quite like any other is Rocketship’s 1996 full-length debut A Certain Smile, A Certain Sadness. Even upon arrival, this was an experience unto itself, and 30 years later, these eight songs of bittersweet bliss still feel new.
Rocketship spiked their deliciously melodic indiepop with buzzing organs, spacey interstitials and motorik repetition, aligning them with mid-90s peers like Stereolab and Unrest. “A Certain Smile, A Certain Sadness” is an album of unrepentantly vulnerable melodies, unusual seventh chords, lingering ambient interludes, and soft sentiments released at a time when unfriendly, self-conscious punk rock was the order of the day…
Kiss Facility is the duo of Emirati-Egyptian singer and songwriter Mayah Alkhateri and producer Salvador Navarrete, aka Sega Bodega, close collaborator of Shygirl and Oklou. Together, they make spellbinding Arabic alt-pop that bridges elements of shoegaze, trip-hop, post-punk, and deconstructed club. The result? A gothic romance with all the poetic gravity of Arabic songcraft and none of the hang-ups of tradition. KHAZNA, meaning “treasure” or “vault” in Arabic, contains passages of unerring devotion and romantic mysticism alongside vows of mutual destruction such that Kiss Facility’s khazna begins to more resemble an impassioned prison.
The springy synths and chugging guitar riffs that open “Lynch” are promptly assuaged by…
Everyone who proselytises will eventually tell you that the truth sets you free. On her debut album Buck Wild, Indian (Pune-based) artist Karshni splits herself open: sometimes with a surgeon’s meticulousness, sometimes like a violent, rabid cannibal, utterly disinterested in suturing herself back shut, intent on ravaging the person she once was – all in the service of ‘getting real’, both with herself and her listeners.
In the last eight-odd years that she has been making music, Karshni has developed an indie-darling, melancholia laden sound-bed, then abandoned it, floated across collaborations with her peers, lending her voice to records that span the distance between avant-garde hiphop and shoegaze, and now brought herself…
London-based, Wrexham-raised artist Art School Girlfriend releases her third studio album Lean In, via Fiction Records. Armed with the freedom and space to experiment, Lean In was self-produced in her own East London studio and sees Art School Girlfriend set to move from cult bedroom artist to one of the UK’s most vital artist/producers operating at the moment, tackling alternative rock, electronic pop and experimental ambient sounds in her most cohesive work to date.
Starting off with a looped beat, followed by some ambient sounding synthesiser, Doing Laps is an interesting track to start the album. It feels almost dreamlike with Art School Girlfriend’s whispery sounding vocals, with a backdrop of ambient synths, almost new age…
“Hypnosis Tapes” opens with a vacuum cleaner played in reverse — an inside joke, apparently — before the fuzzy guitars and humming synths layer in, stacking blips and pockets of sound until you realize you’ve stopped paying attention to anything else. Mute Swan named the opening track appropriately. It immediately puts you into a trance.
That pull defines Skin Slip, the Tucson band’s sophomore album and the final recorded work of founding guitarist Thom Sloane, who passed in 2024. Frontman Mike Barnett has said these are their best songs, Sloane’s best playing. He’s not overselling it. The album was recorded before Sloane’s death, and it sounds like a band locked in — joyfully testing how far their sound can stretch and change shape without losing their identity.
When Crimson Whisper emerged out of the ether in 2024, it was with an EP of synthy, metallic textures, muscular live drums, and gossamer vocals, making for a giddy version of shoegaze that incorporated some dream pop and post-punk vibes. As intangible as their sound was the lack of background on the project. That EP, Flutter, was followed the next year by a mini-album and another EP. The Shelflife label stepped in to give the band their first label release, Flutter & Beautify, a track-for-track compilation of their two EPs. Meanwhile, it was revealed that Crimson Whisper consists of San Francisco-based singer Na Lim and an unnamed member of an “established shoegaze band.” The mysteriousness extended to Beautify, which on occasion incorporated…
“Hypnagogic” is a word that refers to the unique space between sleeping and dreaming, and it’s not surprising that the term has been used to describe the music of Greg Jamie. Hailing from Portland, Maine, Jamie’s music is often an odd, woozy, and unsettling place, but his songs also contain warmth and comfort, as if he’s your guide through a dark place just before dawn. His debut album, Crazy Time, was a seductive, lo-fi gem, and the follow-up, Across a Violet Pasture, covers much of the same territory, but with a broader scope and greater ambition.
Jamie, who sings and plays guitar and synth, is joined primarily by Colby Nathan, who produced the album and also contributes bass, synth, guitar, and vocals (and was also a crucial….