Shoegazing Musical Groups

Shoegaze (originally called shoegazing and sometimes conflated with "dream pop") is a subgenre of indie and alternative rock characterized by its ethereal mixture of obscured vocals, guitar distortion and effects, feedback, and overwhelming volume.Pete Prown / Harvey P. Newquist: "One faction came to be known as dream-pop or "shoegazers" (for their habit of looking at the ground while playing the guitars on stage). They were musicians who played trancelike, ethereal music that was composed of numerous guitars playing heavy droning chords wrapped in echo effects and phase shifters.", Hal Leonard 1997, It emerged in Ireland and the United Kingdom in the late 1980s among neo-psychedelic groups who usually stood motionless during live performances in a detached, non-confrontational state. The name comes from the heavy use of effects pedals, as the performers were often looking down at their pedals during concerts.

My Bloody Valentine's album ''Loveless'' (1991) is often seen as the genre's defining release; other prominent shoegaze groups include Slowdive, Ride, Lush, Pale Saints, Airiel, and Chapterhouse. A loose label given to the shoegaze bands and other affiliated bands in London in the early 1990s was "the Scene That Celebrates Itself". Most shoegaze artists drew from the template set by My Bloody Valentine on their late 1980s recordings, as well as bands such as Dinosaur Jr., The Jesus and Mary Chain, and Cocteau Twins.

In the early 1990s shoegaze was pushed aside by the American grunge movement and early Britpop acts, forcing the relatively unknown bands to break up or reinvent their style altogether. Since the late 2010s, a renewed interest in the genre has been noted, namely among nu gaze and blackgaze bands.

Characteristics

Shoegaze combines ethereal, swirling vocals with layers of distorted, bent, or flanged guitars,Patrick Sisson,
Vapour Trails: Revisiting Shoegaze
", XLR8R no. 123, December 2008 creating a wash of sound where no instrument is distinguishable from another. The genre was typically "overwhelmingly loud, with long, droning riffs, waves of distortion, and cascades of feedback. Vocals and melodies disappeared into the walls of guitars."

Etymology

The term "shoegazing" originated in a concert review in ''Sounds'' for the newly formed band Moose, in which singer Russell Yates read lyrics taped to the floor throughout the gig. The term was picked up by '' NME'', who used it as a reference to the tendency of the bands' guitarists to stare at their feet — or their effects pedals — while playing, seemingly deep in concentration.

According to AllMusic: "The shatteringly loud, droning neo-psychedelia the band performed was dubbed shoegaze by the British press because the band members stared at the stage while they performed". The term was also used by the British music press to describe dream pop bands.Nathaniel Wice / Steven Daly: "The dream pop bands were lionized by the capricious British music press, which later took to dismissing them as "shoegazers" for their affectless stage presence.", Alt. Culture: An A-To-Z Guide to the '90s-Underground, Online, and Over-The-Counter, p. 73, HarperCollins Publishers 1995, Slowdive's Simon Scott found the term relevant:

However, to some, the term was considered a pejorative, especially by a part of the English weekly music press who considered the movement as ineffectual, and it was disliked by many of the groups it purported to describe. Lush's singer Miki Berenyi explained: Ride's Mark Gardener had another take on his group's static presentation: "We didn't want to use the stage as a platform for ego... We presented ourselves as normal people, as a band who wanted their fans to think they could do that too."

History

Origins and precursors

According to AllMusic, most bands drew from the music of My Bloody Valentine as a template for the genre, as well as groups such as Cocteau Twins, Dinosaur Jr., and The Jesus and Mary Chain. British duo A.R. Kane have also been credited with producing a template for the genre in the late 1980s. My Bloody Valentine's ''Loveless'' is often referred to as the greatest album the genre has produced. Each band's music bridged the styles of garage rock, 1960s psychedelia and American indie bands like Dinosaur Jr. and Sonic Youth. Other artists that have been identified as direct influences on shoegaze include the Velvet Underground, Hüsker Dü, and The Cure.Exclaim! Sound of Confusion article on Shoegaze
. Retrieved 22 September 2008. Siouxsie and the Banshees was also a major influence initially on Cocteau Twins. Slowdive named themselves after a Siouxsie and the Banshees song of the same name and took inspiration from the group at their beginnings. Lush, a shoegaze contemporary, were originally called "The Baby Machines", a line from a Siouxsie lyric. Other bands who have been cited as exploring proto-shoegaze sounds and textures include Spacemen 3 and the House of Love.

My Bloody Valentine emerged in the wake of their 1988 breakthrough with the " You Made Me Realise" EP and album '' Isn't Anything''. ''The Trouser Press Guide to '90s Rock'' mentions that " A.R. Kane, the London duo... (who dubbed their music 'dream pop') exerted a profound sonic influence on the legion of trippy shoegazer guitar bands that would emerge a few years later in the UK". Michael Azerrad's book '' Our Band Could Be Your Life'' cited an early 1990s Dinosaur Jr. tour of the United Kingdom as a key influence.

Whereas contemporary alternative rock movements of the time period were extremely male-dominated (Britpop, grunge), My Bloody Valentine, Slowdive, Lush, Cocteau Twins, Pale Saints, and many other popular shoegaze acts had at least one prominent female musician who contributed key vocal elements and/or integral writing components to the music. In the 2014 film Beautiful Noise, Kevin Shields noted that there were as many women as men in the shoegaze community.

The Scene That Celebrates Itself

The Scene That Celebrates Itself was the social and musical scene in the early 1990s within London and the Thames Valley area. The term was coined by '' Melody Maker's'' Steve Sutherland in 1990 in a near-contemptuous gesture, focusing on how bands involved in the scene, rather than engaging in traditional rivalries, were often seen at each other's gigs, sometimes playing in each other's bands, and drinking together.

Bands lumped into the 'scene' by the press included several of the bands that were branded with the shoegazing label, such as Chapterhouse, Lush, Moose and other (mainly indie) bands such as Blur (prior to the release of their single "Popscene"), Thousand Yard Stare, See See Rider and Stereolab. A prime example were Moose, who often swapped members with other bands on a given night. Moose's Russell Yates and Stereolab guitarist Tim Gane would often trade places, while "Moose" McKillop often played with See See Rider. Gane and his Stereolab colleague Lætitia Sadier even played on the 1991 session by Moose for John Peel's BBC Radio 1 show.Peel Sessions: 16 April 1991 - Moose
", ''Keeping It Peel'', BBC

The bands, producers and journalists of the time would gather in London and their activities would be chronicled in the gossip pages of the music papers '' NME'' and ''Melody Maker''. The most famous club and focal point was Syndrome, which was located on Oxford Street and ran weekly on Wednesday nights. The ''NME'', in particular, embraced the scene, and the unity of the bands was probably advantageous to their careers, because when one band had a successful record, the other bands could share the publicity. The scene was extremely small and revolved around fewer than 20 individuals.

The first stirrings of recognition came when indie writer Steve Lamacq referred to Ride in an ''NME'' review as "the House of Love with chainsaws".

The shoegaze genre label was quite often misapplied. As key bands such as Slowdive, Chapterhouse and Ride emerged from the Thames Valley, Swervedriver found themselves labelled shoegazers on account of their own Thames Valley origins, despite their more pronounced Hüsker Dü-meets- Stooges stylings.Lester, Paul (1992-09-12). "Whatever Happened to Shoegaze?" ''Melody Maker'', p.6. Retrieved 12 April 2007 from Proquest Research Library.

Decline

The coining of the term "The Scene That Celebrates Itself" was in many ways the beginning of the end for the first wave of shoegazers. The bands became perceived by critics as over-privileged, self-indulgent, and middle-class. This perception was in sharp contrast with both the bands who formed the wave of newly commercialized grunge music which was making its way across the Atlantic, as well as those bands who formed the foundation of Britpop, such as Pulp, Oasis

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