Keeping the Dream Alive

Cyan is a Baybeats Budding Writer mentored by Eddino Abdul Hadi, music correspondent for The Straits Times and Hidzir Junaini, editor and writer at Bandwagon Asia.

For 2022 Baybeats Budding Band motifs, opening for Slowdive had always been a joke, a lofty aspiration they could only dream of achieving. This year, however, they successfully manifested it into reality—in March, they found themselves sharing a stage with the shoegaze legends themselves at the Capitol Theatre, who had returned to Singapore for the first time in a decade.

Despite being a rather old band who only reunited in 2014 after a 20-year hiatus, it was interesting to see that Slowdive’s crowd was much younger than expected. However, this should not come as much of a surprise either—shoegaze has seen a massive revival in the 2020s, along with other ’90s genres like midwest emo which were once considered extremely niche. In an era where listeners are putting the “vibes” first, it is inevitable that they gravitate towards shoegaze: a genre that finds its personality in lush walls of sound, where shimmering guitar tones blend with hazy vocals to create vast, immersive and ethereal soundscapes. The result is music that feels like a dream you can step into, enveloping listeners in waves of sound that evoke nostalgia, introspection and a beautifully alluring sense of escapism.

It has its roots in 1990s Britain, but shoegaze has since found a home in music scenes all over the world, including Singapore. Here at home, it has developed many unique identities while staying true to the dreamy, evocative essence that defines the genre.

Shoegaze in the ’90s

Shoegaze made its way to Singapore in the ’90s, pioneered by bands like The Pagans and Astreal. Formed in 1992, Astreal is regarded as one of the founding members of Asian shoegaze and gained significant attention with their debut album. Their music was even featured on the renowned UK-based John Peel BBC radio show in 1996. “People were really into [shoegaze], because they dug that heavy wall of sound,” says Ginette, Astreal’s lead singer.

Amongst the many alternative bands in the ’90s, Disko Biscuit was another one of the few who were drawn to shoegaze. Back then, the genre’s popularity was just beginning to grow out of obscurity. It was still unfamiliar—albeit fascinating—territory to many. “I said, ‘What kind of music is this?’ We were metalheads, [fans of] grindcore and hardcore. Shoegaze brought elements of both rock and softness, yet it was still so wild and untamed,” says Norman, the band’s guitarist. “What appeals to me especially is that it’s an escape and brings you to this euphoric emotion.” Disko Biscuit’s name, in fact, is aptly derived from a slang term for ecstasy. True to their origins, they hope that through their music, people can escape the reality of Singapore’s fast-paced life to a better place, even if just for a while.

Blurring boundaries

The alternative music scene in the '90s was a rich tapestry of genres. Gigs back in the day were home to all kinds of musical experimentation, from indie rock and grunge to metal and industrial. “The scene was a rojak scene…there weren’t shoegaze concerts or metal concerts. Everyone was experimenting with their own thing,” Norman recounts. The lack of clearly defined genre boundaries in turn had a big influence on the development of their shoegaze sound in Singapore. For Disko Biscuit, Norman picked up techniques from other guitarists in the scene, like putting two overdrive or distortion pedals one after another to achieve a unique, fuzzier guitar tone. “We brought these [ideas] into Disko Biscuit, and applied it differently,” he explains.

“We mix and match, and join them together with sounds that we’ve grown up listening to,” adds Hassan, bassist of the band.

As for the modern shoegaze scene today, it is incredibly diverse and varied, much like in the past. Across all bands who can be considered “shoegaze”, there is no one uniform sound—our Singaporean bands are ever-changing and innovating to create even more one-of-a-kind textures and soundscapes.

The 2010s saw the rise of more shoegaze acts that ventured into dream-pop, such as Subsonic Eye, formed in 2015, who blend soothing synths, catchy guitar lines and wistful vocals. Cosmic Child, founded in 2013, is another notable band, having released two albums that contribute to the genre's presence in Singapore. There is also Sobs, who lean into the bedroom pop realm of shoegaze. More recently, freereina! played their debut show at Phil’s Studio this September, where they showcased a unique blend of electronic music and shoegaze. Other shoegaze acts at the gig included up-and-coming band Nosedive, as well as Blush, whose members also play in established local bands such as Sobs, Cosmic Child, Marijannah, and Forests.

As for motifs, they have also gone on to play bigger shows since their Baybeats debut. In addition to opening for Slowdive, the quintet has also played their very own launch show for their debut album, remember a stranger. They have also brought their nostalgic and emotive sound to Playtime Festival 2024 in Ulaanbaatar, Mongolia, as well as to Taiwan and Japan.

Nonetheless, shoegaze remains a relatively niche genre in Singapore as compared to some others. Many of the bands interviewed also brought up the fact that there are hardly any gig organisers dedicated to the genre—in fact, one of motifs’ big dreams is to organise a massive shoegaze festival in Singapore. However, the listeners are definitely there if you look for them, and the bands are always playing. For shoegaze enthusiast Meng Kang, seeing Beach House perform in Vancouver spurred him to start his own shoegaze band, Lobster, in university. “It’s very simple and repetitive, but it allows you to feel so many different things that other genres don’t have…it’s the only genre that feels more impactful than the rest,” he explains. Since its conception, Lobster has been a part of a few local gigs, like That Incredible Fest at *SCAPE and Unregistered Hypercam 2 by Rabak Records. Though he agrees that shoegaze does not have a dedicated space for itself in the ecosystem, he expresses his gratitude to local gig organisers for giving new bands like his a chance, and for incorporating shoegaze bands in their lineups amongst those belonging to more popular genres like hardcore and punk.

A realm of its own

To be honest, shoegaze as a genre is difficult to define. It straddles the boundaries of many different subgenres such as dream-pop, indie rock and psychedelia, and members of the same band themselves may have differing preferences within the genre itself. Yet, shoegaze has a particularly distinctive personality, one that is simultaneously melancholic and euphoric. Perhaps, it is more of an experience than a specific style of music. For a genre that got its name from how performers would have their eyes fixed on the slew of effects pedals at their feet, unmoving, shoegaze's identity is less about the spectacle and more about an introspective sonic journey.

As more listeners continue to embrace genres that focus on atmosphere and emotional depth, it is likely that shoegaze will continue to grow in influence. Whether through the classic fuzz-laden walls of sound or new, innovative twists from contemporary bands, shoegaze in Singapore is evolving, and the dream is far from over.