Tag: shoegaze

Single Review by William Ruben Helms

New Audio: Olympia, WA’s Waves Crashing Shares Shimmering “Marine Garden”

Rising Olympia, WA-based indie outfit Waves Crashing — Joshua Calisti (vocals, guitar, cello), Bryce Albright (drums and Zach Olson (bass backing vocals) — burst into the regional and national scenes with their breakout full-length debut, last year’s Effection, which landed at #88 on KEXP’s Best of 2025 List, #28 on Obscure Sound’s Top 50 Albums of the Year. The album also landed at #92 on the NACC charts.

The trio supported their debut by opening for Ringo Deathstarr and Cloakroom, and they shared stages with Flying Fish and Cigarettes For Breakfast.

Building upon a growing profile, the Washington State-based trio’s sophomore album In The Blur is slated for a May 20, 2026 release through Audiomanic Records. Where Effection served as an introduction to the band’s sound which paired lush shoegazer textures with soaring hooks, In The Blur sharpens the edges and widens the lens a bit. The eight-song In The Blur reportedly sees the band boldly and confidently stepping into their sound while pushing it into new territory, further cementing their immersive blend of shoegaze atmospherics, post-punk pulse and melodic alternative rock. The album also showcases the band’s growth in songwriting, production and overall sonic depth. The end result is an effort that feels simultaneously cohesive yet exploratory, and equally suited for live rooms and late-night headphone listening.

Thematically, the new album touches upon social division, the pressures of the music industry, unwavering love and gratitude and mental fragility.

In The Blur‘s latest single “Marine Garden” seemingly channels a hook-driven synthesis of Ocean Rain-era Echo and the Bunnymen, The Psychedelic Furs and 1990s shoegaze with the song featuring an arrangement of shimmering, reverb-kissed guitar textures, brooding bursts of cello and a familiar post punk pulse. And while nostalgia-inducing for the old heads, the song is rooted in a deeply modern sensibility.

The rising Olympia-based trio will be supporting the new album with a run of the regional festival circuit and with a UK tour. More on that, soon.

Video by William Ruben Helms

New Video: TANGIENTS Share Dream-like “The Ether”

Los Angeles-based duo TANGIENTS — multi-instrumentalists Chelsea Ray and Be Hussey — specialize in a unique take on shoegaze that draws from 80s post-punk, 90s shoegaze and dream pop anchored around Chelsea Ray’s dream-like delivery […]

Video by William Ruben Helms

New Video: Cincinnati’s Sungaze Shares soaring “I’m No Longer Afraid of Heights”

Through the release of their first three albums, 2019’s Light in All of It, 2021’s This Dream and 2024’s self-titled effort, Cincinnati-based indie sextet Sungaze — Ivory Snow (vocals), Ian Hilvert (lead guitar, vocals), Snow’s sister Angela Colvin (bass), Charlie Hausfield (rhythm guitar) and Zach Starkie (rhythm guitar) and Tyler Collier (drums) — have established a sound that draws from the atmospherics of shoegaze and the nostalgic pull of Midwest emo, blending lush, textured guitars with clear vocals and poetic lyricism.

Slated for a May 22, 2026 release through Candlepin Records and Softseed Music, the Cincinnati-based sextet’s fourth album I’m No Longer Afraid of Heights reportedly marks a turning point for the band. Thematically, the material is an excavation of personal history reframed through the present, where survival, ambition and grief coexist. Most of the album sits in — and captures — the tension between past and present, capturing the feeling of trying to move forward while carrying the weight of where you’ve been and how you’ve gotten there. Simultaneously looking within and without, the album traces the cost of staying, the fear of leaving, and the moments in our lives that force change.

I’m No Longer Afraid of Heights‘ latest single, album title track “I’m No Longer Afraid of Heights” opens with a gorgeous intro meant to evoke childhood memories of hot, hazy summers playing with your friends and/or siblings; and of times that seem deceptively simple and carefree, before morphing to a stormy and brooding section that evokes the bitterness of an unfulfilled stagnant life of drudgery and frustration punctuated by grief and heartache. Throughout, Ivory Snow’s ethereal vocal expresses a mix of heartache and resignation, followed by newfound sense of defiance and inspired action, seemingly informed by the recognition that it’s better to have tried and fallen on your face than to never attempt to live your dream.

The accompanying video draws from a real memory while simultaneously being intentionally symbolic. Set in a small Ohio town along the banks of the Little Miami River, the video contrasts warm childhood imagery with the bleakness and starkness of grown-up routine and loss, employing water, movement and live performance as parallel paths towards release. The video’s dual ending cuts between Snow in work attire, floating serenely in a childhood river bathing spot and Snow in a white lace dress, crowd surfing at a Sungaze show.

“It was important to us to film the video in the real life settings that inspired it. We filmed over the course of three days. Day one was mostly spent working with our kid actors, and filming the office-attire scenes,” Sungaze’s Ivory Snow explains. “Day two was filming the outdoor performance and narrator scenes which involved sneaking into a gravel pit yard and walking the streets of the small town where I grew up. The corner store in the video is the very same that is mentioned in the first verse. The third day was the live show, which was shot at Madison Live in Covington, KY, across the river from Cincinnati. To get the slow motion effect, we had to perform the song at 2x speed, which made for a humorous experience. I think we were all thankful that we play relatively slow music.”

To prepare the live concert audience for their scene on the third day of filming, a last minute showing of the video was arranged. Snow continues, “Before filming kicked off, we set up a projector and screened a preview of the video for the audience, ending with the river scene right before the first live show shot. The room was dead silent for a few seconds after the preview ended, before erupting into applause. A few people were wiping their eyes.
Screening the video in that way felt a bit more vulnerable than expected and it was gratifying to see it received so well.”

Video by William Ruben Helms

Throwback: Happy 64th Birthday, Simon Raymonde!

JOVM’s William Ruben Helms celebrates Simon Raymonde’s 64th birthday.

Video by William Ruben Helms

New Video: she’s green Returns with Slow-Burning and Delicate “paper thin”

Minneapolis-based outfit she’s green — Zofia Smith (vocals), Liam Armstrong (guitar), Raimes Lucas (guitar), Teddy Nordvold (guitar) and Kevin Seeback (drums) — specialize in crafting dreamy soundscapes that transport the listener to scenes of soft summer rain and fields of swaying wheat, infused with raw emotional intensity. 

With their earliest singles “river” and “smile again,” the Minneapolis-based quintet quickly became a staple within the Midwestern alternative scene, while earning praise from Complex, Star Tribune and The Current. Their debut EP, 2023’s Wisteria saw the band establishing an honest and exploratory songwriting process, as well as reputation for being a force in the world of sonic surrealism. They supported their material with tours across the Midwest and East Coast with Hotline TNT, Friko, JOVM mainstays Glixen and a list of others. 

Last year, the Minneapolis-based quartet signed to New York-based Photo Finish Records, who released their Henry Stoehr-produced sophomore EP Chrysalis. The EP included  the Souvlaki-era Slowdive-like “Graze,” and the Sundays-meets-A Storm In Heaven-like “Willow.” 

Building upon a growing national profile, the Minneapolis-based outfit will be releasing their newest effort, swallowtail EP on July 10, 2026 through Photo Finish Records. The EP will feature the previously released “mettle,” a decidedly  120 Minutes-era MTV-like bit of shoegaze and dream pop and the EP’s latest single “paper thin.”

the slow-burning “paper thin” features swirling, gauzy shoegazer guitar textures that seem to be so fragile that they’re breaking apart as soon as they’re played, paired with Smith’s achingly melancholy vocal. The song captures the feeling of love slipping away right before your eyes — and the realization that there’s nothing you can do to stop it. At the core of the song is a bitter heartache, rooted in the familiar “what if’s” and “what would have beens” of every relationship.

The painterly shot, subtly surrealist video for “paper thin” that follows a night out that spirals out of control with a couple on the verge of a breakup, emphasizes the heartache at the core of the song.

Video by William Ruben Helms

New Video: A Place to Bury Strangers Share Mournful “Song for Girl from Macedonia”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly will include the previously released, “Everyone’s The Same,” “Acid Rain” “Where Are We Now” and the album’s fourth and latest single “Song for Girl From Macedonia.” A brooding motorik pulse and swirling and atmospheric feedback serve as a lush yet mournful bed for Ackermann’s equally mournful delivery expressing a bitter sense of “what if.”

“We played a show in Macedonia anded this girl, who deeply connected with the music. Her brother helped us load gear, pure kindness, no ego. She was killed by a drunk diver, crossing the road,” Ackermann explains. “This song is for her. A small attempt at honoring someone, who deserved more time.”

The accompanying video features some mind-bending animation created by the band’s original projectionist Spencer Bewley.

Video by William Ruben Helms

New Video: Miki Berenyi Trio Shares Breezy “Island of One”

Miki Berenyi Trio features an acclaimed and accomplished group of British artists:

  • Miki Berenyi (vocals/ guitar), a founding member, frontperson and rhythm guitarist of acclaimed and iconic shoegazer outfit Lush — and the founder and frontperson of acclaimed outfit Piroshka

  • Kevin “Moose” McKillop (guitar), a founding member of acclaimed shoegazers Moose, Berenyi’s spouse and Piroshka bandmate 

  • Oliver Cherer (bass)

The band is named after its lead singer — a direct way to convey the presence of former Lush frontperson Miki Berenyi, one of the most beloved figures and recognizable faces of 1990s alternative rock and shoeegaze.

The trio’s full-length debut, last year’s Tripla derives its name from the Hungarian word for “triple,” acknowledging the band’s songwriting is entirely a three-way collaboration. The album sonically was a rich, lushly layered, imaginative and uniquely slanted take on dream pop that features at points euphoric and other points melancholy guitars and electronics paired with Berenyi’s imitative vocal. The album’s material is anchored around a worldview that vacillates between profound, yearning and abrasive — seemingly informed by their lived-in experiences and hard-won wisdom,

Although the album’s material features a sophisticated sound, Berenyi, McKillop and Cherer have done so with a focus on the basics, not only recording at home, but driving around in a car packed with their gear, loading in and out of venues themselves, much like they did when they first started out. “There is something very ‘grass roots’ about what we’re doing,” Miki Berenyi Trio’s Miki Berenyi says.  “There’s no point following the ‘announce the album, then tour, then record the next album’ route – we just want to wring as much enjoyment out of this as we can, and hope that it resonates somewhere!”

Since the release of Tripla, the trio have released a limited edition 7 inch single of “Doldrum Days“/”Touché,” which sold out during their October 2025 Stateside tour. Yesterday, the band shared the standalone single “Island of One.” Released through Bella Union, “Island of One” is anchored around a flamenco-meets yé-yé-inspired rhythm and a remarkably catchy hook, making it arguably one of the breeziest songs of their lengthy individual catalogs — and of their growing, collective catalog.

“’Island of One’ took shape because I became quite obsessed with the track ‘Just A Western’ by Nilüfer Yanya last year, and the Latin-y beat got me inspired”, Miki Berenyi says. “But I wanted a lively, catchy song to add to our live set, so it ended up less laidback and more 60s-breezy with some driving, scratchy guitars – once all three MB3 members pile in on the embellishments, a song ends up a fair distance from where it started! As ever, recording and production took place in our various home-studio set-ups, and the song was mixed by our brilliant Bella Union labelmate, Paul Gregory.” 

Berenyi adds, “Lyrically, I’m at the age where a lot of my friends have elderly parents who are increasingly reliant on their help. It’s a new phase in a life relationship and can throw up a lot of emotions. But the words apply as much to all manner of family break-ups and the fraying of long-standing friendships. When you’re young, it’s much easier to justify walking away, but I’m acutely aware, as I get older, of how important even a thread of connection with people who have shared our lives can be, however difficult those relationships can be to maintain!”

The accompanying live performance-based video for “Island of One” was shot in Northwest London by longtime visual collaborator Sébastian Faits-Divers.

Video by William Ruben Helms

New Video: London’s deary Shares Lush, Shimmering “Alma”

Rising London-based shoegazers deary — Rebecca “Dottie” Cockram (guitar, vocals), Ben Easton (guitar) and Harry Catchpole (drums) — formed back in 2020 over their shared love of Cocteau Twins, Slowdive and My Bloody Valentine.

The band’s debut single, 2023’s “Fairground” landed at #1 on the UK Vinyl Singles Chart and led to opening slots with Slowdive and Cranes, as well as collaborations with Saint Etienne, The Murder Capital and Lush‘s Emma Anderson. Building upon a growing profile in the UK, the London-based trio’s highly-anticipated, self-produced full-length debut, Birding is slated for an April 3, 2026 release through Bella Union.

Birding reportedly sees the band proudly wearing their long-held influences on their collective sleeve, pairing dreamy shoegaze beauty with trip-hop influenced beats, incorporating their unique, modern touch to make something completely their own.

Thematically, the album aims to draw attention to the direct impact that we humans have on the world around us, whether that’s nature or just ourselves. The album also touches upon the importance of protecting the inner child or someone more vulnerable, holding hands and learning from past mistakes. “I was writing the record in one of the worst periods of my life,” deary’s Ben Easton explains. “I was not in a good space at all. Our last EP, Aurelia, was about transition, and how it’s cool to change. And Birding is, ‘Oh no, I‘ve made some really disruptive life decisions.’ The album came from an isolated, almost hopeless space, and you can hear that in parts of the record. But there are also moments that are very self-loving and meditative, and a bit more uplifting.”

Birding will include the previously released, critically applauded tracks “Seabird” and “Alfie,” as well as the album’s latest single, “Alma.” Deriving its title for the Spanish word for “soul” and the Latin word associated with kindness and nourishment, Birding‘s third single is a blend of The Sundays-era dream pop with Slowdive and Cocteau Twins-inspired shoegaze: swirling and shimmering guitars serve as a lush bed for Cockram’s ethereal cooing and some remarkably catchy, well-placed hooks.

“I see ‘Alma’ as an embodiment of our band,” deary’s Dottie Cockram explains. “It has been with us for a long time and changed with us along the way. In the past 4 years, we have grown into ourselves and have a much clearer idea of what deary is. In this song, I am talking to my younger self who made the decision to look after us and become a better person.”

Directed by Limb, the accompanying video features twin siblings Robin and Charly Faye. Appearing as though it was a meeting of past and future selves, the siblings — one initially blindfolded until it’s removed — meet each other with deeply knowing love and kindness.

Video by William Ruben Helms

New Video: A Place to Bury Strangers Returns with Broodingly Atmospheric “Where Are We Now”

New York-based JOVM mainstays  A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing a rarities album, Rare and Deadly through Dedstrange on April 3, 2026. 

Following 2024’s Synthesizer, Rare and Deadly sees the band cracking open a decade-long vault of raw nerve and sonic chaos. Spanning 2015-2025, this collection of demos, B-sides, abandoned experiments and forgotten fragments reveals the band at their most unfiltered, frequently caught between breakthrough ideas and beautiful mistakes. 

Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes and half-finished sessions, the collection’s tracks pulse with the unruly energy that ATPBS has long been known for, but more dangerous with more jagged edges — on purpose. 

Countless bands have opened up their vaults to fans and others, but Rare and Deadly is truly unprecedented: Every format is different — and as a result, tells a different story. The CD, cassette, vinyl and digital editions each feature their own unique track listing. No single version features the “complete” album. Instead, each format is its own window into Ackermann’s archive, revealing alternate paths, missing links and parallel “what if” versions of the band’s inner life. It’s deliberately unstable with the album shifting depending on how you choose to hear it, mirroring the chaos of its creation. 

Across the collection’s tracks, you can hear the evolution of Ackermann’s restlessly creative mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends — ideas too volatile, too strange or too personal to ever fit the frame of a proper release. The tracks feature riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by towering walls of feedback. 

Rare and Deadly will include the previously released, tense and menacing “Everyone’s The Same,” “Acid Rain” and the album’s third and latest single “Where Are We Now.” “Where Are We Now” features Ackermann’s reverb-drenched vocal paired with broodingly atmospheric, throbbing motorik pulse. But more than any other previously released APTBS track, “Where Are We Now” conveys an uneasy sense of what if-fueled regret.

Ackermann says that the song is about “looking back at friends you lost touch with. Wondering where they ended up. Remembering when everything felt possible.”

The accompanying video features footage Ackermann edited from footage from the Library of Congress National Archives. Ackermann says he made the video because “I think we need to look at people more and see the value and wonder of life so we can be compassionate towards others.”

Video by William Ruben Helms

New Video: she’s green Shares Stormy and Anthemic “mettle”

Minneapolis-based outfit she’s green — Zofia Smith (vocals), Liam Armstrong (guitar), Raimes Lucas (guitar), Teddy Nordvold (guitar) and Kevin Seeback (drums) — specialize in crafting dreamy soundscapes that transport the listener to scenes of soft summer rain and fields of swaying wheat, infused with raw emotional intensity. 

With their earliest singles “river” and “smile again,” the Minneapolis-based quintet quickly became a staple within the Midwestern alternative scene, while earning praise from Complex, Star Tribune and The Current. Their debut EP, 2023’s Wisteria saw the band establishing an honest and exploratory songwriting process and a reputation for being a force in the world of sonic surrealism. Adding to a growing profile, the rising Minnesotans have supported their material with tours throughout the Midwest and East Coast with the likes of Hotline TNT, Friko, JOVM mainstays Glixen and a list of others. 

Last year, the Minneapolis-based quartet signed to New York-based Photo Finish Records, who released their Henry Stoehr-produced sophomore EP Chrysalis. The EP included  the Souvlaki-era Slowdive-like “Graze,” and the Sundays-meets-A Storm In Heaven-like “Willow.”

Building upon a growing national profile, the band shares their latest single “mettle.” Continuing a remarkable run of 120 Minutes-era MTV-like shoegaze and dream pop, “mettle” features Zofia Smith’s powerhouse yet tender vocal ethereally floating over a stormy soundscape of hazy reverb-drenched guitars, sculpted and abrasive riffs and thunderous, driving drums. The song manages to be simultaneously oceanic yet intimate, rooted in personal experiences that are all too familiar and universal.

“‘mettle’ channels the frustration and discomfort that stem from what often feels like constant bad news, while also being an anthem of resilience and the courage to take action and bring about positive change,” the band’s Zofia Smith explains.

Directed by Jaxon Whittington, the accompanying 120 Minutes-era MTV-like video begins with the band’s Smith walking through an eerie forest scene similar to horror movies and is split between horror movie-like vibes and the band playing in the same forest.

The band will have a very busy 2026: Earlier this month, they announced that they’d be opening for Chapterhouse on select dates on that band’s first North American tour in 16 years. During the spring they’ll also open for Bad Suns and Slow Crush with some headlining sets and appearances at Nothing.’s touring Slide Away Festival. The festival will have a stop at the Brooklyn Paramount.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Glixen Return with Woozy “unwind”

Phoenix-based shoegazers and JOVM mainstays Glixen — founder Aislinn Ritchie (vocals), along with Esteban Santana (guitar), Keire Johnson (drums) and Sonia Garcia (bass) — released their Sonny DiPerri-produced sophomore EP quiet pleasures last year.

quiet pleasures EP included the previously released “sick silent” and four singles I wrote about on this site, “foreversoon,” “lust” “lick the star,” and “all tied up.”

The JOVM mainstays supported their sophomore EP with stops across the global festival circuit, playing sets at Coachella, Reading and Leeds. They played a headlining Stateside tour with several sold-out shows. They hit the road with Turnover, Panchiko and Scowl — including their first UK and EU tour, supporting Turnover. They closed out 2025 with a co-headlining tour across the Southwest and West Coast with Glare.

2026 will see the band embarking on their first headlining tour in Japan and returning to the global festival circuit with a stop at Manchester, UK’s Outbreak. Throughout April and May, the JOVM mainstays will embark on a North American tour that includes an April 21, 2026 stop at Elsewhere Hall. As always, check out the tour dates below.

But in the meantime, the band remains busy. Earlier this year, they released “Medicine Bow.” The JOVM mainstays follow “Medicine Bow” with their latest single “unwind,” a hazy and woozy track that unfolds as a slow-burning churn, anchored around swelling textures that ebb, flow and dissolve. The result is a song that evokes a queasy push and pull somewhere between weightlessness and being yanked into an undercurrent. If you’ve ever had a complicated

“‘Unwind’ is about that feeling of relief when someone comes back to you after they’ve left,” Glixen’s Aislinn Ritchie explains. “It’s human nature to crave that push and pull—a drug weaned off. Blindingly hard to say no, we succumb to willful ignorance. We recorded this song in Los Angeles with Sonny Diperri producing, and it’s the first song we incorporated different instrumental elements, and it’s a glimpse into our evolution.”

Video by William Ruben Helms

New Video: Lucid Express Shares Dreamy and Yearning “Promise Me”

Hong Kong-based shoegazers and JOVM mainstays Lucid Express just released their long-awaited and highly anticipated sophomore album Instant Comfort today through Kanine Records. 

Mixed by Kurt Feldman during marathon overnight, transpacific sessions on Discord, Instant Comfort reportedly captures the unsettling stillness of the nighttime hours. The album’s material sonically sees the Hong Kong-based JOVM mainstays pairing ethereal melodies with towering walls of jangling guitars and hazy, swirling feedback while being more clear-eyed, complex and layered than anything they’ve released to date. 

The album includes the previously released “Something Blue,” and “Faux Sweetness,“as well as the album’s latest single “Promise Me.” Featuring towering layers of shimmering and churning guitars, thundering hi-hat driven drumming serving as a lush and eerily uneasy bed for Kim Ho’s ethereal and yearning vocal.

Directed and filmed by fellow Hong Kong native Neo Yeung, the accompanying video is a mix of live performance-styled footage and candid footage shot over the course of a day-long shoot.

Video by William Ruben Helms

New Video: Chicago’s Snowcuffs Shares Hazy and Anthemic “Burst”

Formed back in 2022, Chicago-based dream pop outfit Snowcuffs features members of Lightfoils and Astrobrite, Their debut EP, last year’s Sink Down saw the band quickly establishing a sound that balanced shimmering textures and memorable hooks. Inspired by Alvvays, Beach House and Mazzy Star, their work frequently drifts between nostalgic haze and fuzz-driven intensity while thematically touching upon longing, reflection and fleeting beauty.

The band has shared stages with Cold Gawd, Seashine and Cigarettes for Breakfast, and played a standout set at Kalamashoegazer, the country’s longest-running shoegaze festival.

Building upon a growing profile in the national shoegaze and dream pop scenes, the Chicago-based outfit’s sophomore EP Sweet Gravity is slated for a March 5, 2026 release. Engineered by Sanford Parker at Hypercube Studios, mixed by Robert Cheek and mastered by Baseline Audio Labs’ Chris Goosman, Sweet Gravity EP reportedly sees the band showcasing refined songwriting and a much more expansive sound that pushes the boundaries of dream pop without losing its heart and soul.

Sweet Gravity EP‘s latest single “Burst” sees the band pairing shimmering and swirling guitar textures, a forcefully driving rhythm section and remarkably catchy, rousingly anthemic hooks with ethereal vocals. Sonically, “Burst” seemingly nods at 120 Minutes-era MTV shoegaze and alternative rock — but with a decidedly modern sensibility. And at its core is a song and a narrator struggling with crippling ambivalence and self-doubt.

The band explains that “‘Burst’ is about the struggle of trying to be everything at once, and what happens when inaction, ambivalence, and self-doubt slowly erode your options in life.

I wait and see
Stare at the tree
Will it die of thirst
And fall down on me?

Ambivalence isn’t neutral, it’s destructive.”

Directed by Dave Rentaukas, the accompanying video for “Burst” is split between footage of the band’s lead singer in a Chicago area park as the sun begins to set and the rest of the band performing in a studio in front brooding yet trippy projections.

Video by William Ruben Helms

New Video: Allegories Shares Bleak and Yearning “The Next Life”

Since the release of 2022’s Endless, the Canadian experimental pop duo and JOVM mainstays  Allegories — childhood friends Adam Bentley and Jordan Mitchell — have released a growing collection of standalone singles. 

Over the course of last year, the duo shared DREAMCRUSHER” “Stay Out Of The Basement,” “Baker’s Lung,” and “Mid Century Nothing,” the first four of a series of singles that originally started out as bare-bones ukulele sketches, which gradually transformed into idiosyncratic electronic music sound sculptures.

The Canadian JOVM mainstays begin 2026 with “The Next Life,” a shoegazer textured tune that may arguably be the most unflinchingly bleak, song that the duo have ever written or recorded. Inching towards being an anthem but stubbornly refusing cathartic release, the song sees the duo staring into existential despair, exploring nihilism and deferred hope, while asking “What if there’s nothing besides this? What then?”

“There’s no way around it,” Allegories’ Adam Bentley explains. “This is the most pessimistic reflection on life and existence I’ve ever put forward.”

Like its four immediate predecessors, “The Next Life” was originally written on ukulele and underwent multiple transformations before the final version. Beginning as a skeletal folk sketch was first recontextualized through electronic instrumentation, then reshaped again using the organic, analog tools and instruments typically associated with a rock band. “Just as it feels ready to lift its skinny fists to the heavens and brush against hope, I instead dig deeper into a nihilistic, defeated worldview,” Bentley says. In the next life, we’re told, our prayers will be answered. Our dreams are achieved. The world is at last in harmony.”

The accompanying video features the duo performing the song in the studio, filmed on warped, fucked up VHS tape. For those of you who remember, y’all know.