The Shoegaze Revival Hit Its Stride in 2023 – Warungku Terkini
The genre has even worked its way into the worlds of online rap and digicore. Florida rapper/beatmaker jaydes opened up his sound to blown-out guitars on “rose,” the opening track on this summer’s ghetto cupid, finding unexpected similarities between plugg and shoegaze in their mutual haze. Jane Remover went further: The former digicore artist may have dabbled in redlining guitars on 2021’s Frailty, a sui generis fusion of emo and Porter Robinson-style EDM, but with this year’s Census Designated she dove unreservedly into a sparkling melange of ’90s alt-rock signifiers—grunge, shoegaze, nu-metal—topped with opulent whorls of Auto-Tuned vocals.
Ironically, by pushing shoegaze into such an unmistakably digital realm, artists like Jane Remover revealed aspects of the sound that had gotten left out of its historical narrative. Though often discussed in terms of distortion, what distinguished much original shoegaze (at least as masterminded by My Bloody Valentine) was its precise mixture of fuzziness and detail, at once gauzy and crisp—just think of the way MBV’s rigid, rifle-report snares poke through the all-consuming haze. When I hear a song like MBV’s “Sometimes,” I imagine salted caramel—a creamy swirl, rich and cloying, punctuated by tiny little crystals, their edges sharp upon the tongue. Jane Remover and her DeadAir labelmate quannnic—a 19-year-old musician who comes from a similar background in Auto-Tune-soaked, post-everything bedroom beats—both restored some of shoegaze’s crystalline detail in their sparkling, digitally rendered high end.
Still, nobody took shoegaze further this year than Yves Tumor, whose astonishing Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds) funneled the Prince-indebted funk of their 2020 album Heaven to a Tortured Mind into a rapturous churn of rope-like electric basslines, silica-dry snares, onionskin vocal harmonies, and guitars so volatile they seemed volcanic. It probably doesn’t hurt that Tumor had the iconic producer and mixing engineer Alan Moulder on hand to apply some of the magic potion he used back in the day for My Bloody Valentine, Ride, Curve, and Lush. Tumor’s vocals—hissing, purring, wailing, pleading—run far hotter than the original shoegazers’, but on standouts like “Meteora Blues” and “Echolalia,” they recall the first-gen bands’ method of threading their vocals into the very fabric of the music. Tumor’s voice slides in between the guitars and drums as though slipping beneath ultra-high thread count sheets. It feels like the singer is whispering right in your ear even when the music rages like a tornado.
What made Praise a Lord so exciting wasn’t the mere fact that it looked back to shoegaze for inspiration; it was that it took those ideas as a starting point for something entirely new and entirely personal, a magnetic expression of rock-star charisma. In Tumor’s hands, you caught a hint of where shoegaze (or its descendants, anyway) might go next; a glimpse of the vision and force of will that might help propel it forward another 30 years.
Check out all of warungku’s 2023 wrap-up coverage here.
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