Ode to the n'th shoegaze revival

Shoegaze is more culturally relevant now that it has ever been.  I had nothing to do with this, and didn't even know it was happening until I started reading the year in review pieces over the past month.  One had to be on TikTok or following certain TV shows, I guess, and that's not a complaint or a put-down, it's simply a self-reflecting statement about how far I'm removed from the reality of popular Gen Z culture these days. Although in retrospect, I should have suspected something based on the number of quality dream pop playlists showing up on Spotify.

Philip Sherburne's wrap-up for Pitchfork is predictably excellent, summarizing the successes of first generation and newer bands, as well as acts given a second life thanks to current trends.  His explanation for the genre's success is simple: it may have started as an introspective micro-offshoot of indie rock (with a derogatory name to boot), but its sound was always bold, confident, powerful, and even inspirational. As Sherburne writes, "...the sound of shoegaze has always aimed skyward, reaching further toward the stars with every billowing, coruscating chord."  When you put it that way, it comes across as a genre that was forever convinced of its own inevitable, inescapable success!  

Shoegaze in the late 80's and early 90's was the story of shy teenagers and early 20-somethings bursting out of their bedrooms and finding the inner strength to be extroverted standing behind a panel of guitar effects pedals.  It appears that's still true today, except that the kids don't need to leave their bedrooms, and in some cases, don't even need to buy the guitar pedals.  Eli Enis dives deep into TikTok's role in making shoegaze a breakout genre, and it's not even appropriate to talk about a "revival" when none of the 18-year olds were even born until years after the initial wave of 90's band had mostly broken up and disappeared.  Personally, when I listen to the TikTok acts, I hear more of a resemblance to Nirvana's standoffish ennui than MBV maximalist sheets of noise.  Nirvana T-shirts are more popular than ever, and it feels like they're long gone but have never really gone away, much like it was with the Beatles, Doors, Pink Floyd and plenty of other 60's bands that every music obsessed teenager was familiar with in the early 90's.  

Nirvana's anti-rock star poses have never really aged, it goes without saying that they've permeated the culture more than any shoegaze act ever did.  But at the same time, I have always been struck by how forward-thinking shoegaze has always been.  One could usually identify a 70's or 80's track based on their signature production cues, but with shoegaze, it's almost like we reached the production endgame.  Any track made today could have been believably recorded in 2013, or 2003, or 1993.  Burying the vocals in the mix also helps to transcend language and culture barriers, never tying the music to a specific country or era, thereby helping the music endure irrespective of its then-contemporary audience.