The Wake- Here Comes Everybody (Factory, 1985) This Australian band combined sparse washes of synthesizer, delicately rambling piano melodies, churning post-punk guitars, fretless bass, and ghost-ridden vocals, and the results are as ephemeral as they are stunning.Ģ. Our first entry on this list is an unsuspecting and extremely underrated one, released a few years before the genre was “officially” coined, but no less deserving of inclusion. Not Drowning, Waving- Another Pond (Rampart Releases, 1984) Lastly, while indie-pop often flirted with the same textures and shared a similar set of influences, opening the door to the genre felt equally inaccurate (though we adore Black Tambourine, The Field Mice, Blueboy, and Heavenly as much as anyone).ġ. The same rule held true for bands like Curve, whose electronic cacophony didn’t feel quite-so-dreamy, as vital as it may be. As such, some of the noisier bands on the spectrum (Starflyer 59, Medicine, Swervedriver, Catherine Wheel) were left off. By design, we decided to steer as clear from pure shoegaze as we could.
#The sundays static and silence rar series
With that in mind, we at wanted to try our own hand at devising such a definitive genre list.įirstly, I’d like to thank resident experts Amber Crain ( When the Sun Hits) and Greg Fasolino ( The Harrow, Bell Hollow) for helping through every step of the process, from whittling down a list of nearly 200 releases over a series of loving debates, passionately defending and suggesting alternate choices, and most importantly, for their help in writing many of the blurbs below.Īs the line between shoegaze and dream pop is flimsy at best, we decided to set a few ground rules to help guide our selection process.
We couldn’t help but notice Pitchfork’s attempt at capturing the 30 best dream pop releases, a problematic list that relied too heavily upon repeated artists and completely omitted THE band who coined the genre.
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