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Description

Nu gaze (often styled "nugaze") is a 21st‑century revival and modernization of classic shoegaze aesthetics.

It preserves the genre’s hallmark blankets of overdriven guitars, blurred vocals, and swirling reverb/delay, but folds in cleaner indie-rock songcraft, post-rock dynamics, and contemporary production—often including synth pads, drum programming, and tighter low-end.

Compared with 1990s shoegaze, nu gaze typically presents brighter mixes, crisper transients, and pop-leaning hooks while retaining an enveloping, dreamy atmosphere.

History

Origins and term

Nu gaze emerged in the early-to-mid 2000s, largely in the UK press as a label for new bands reviving shoegaze’s guitar haze with updated indie sensibilities. Early touchpoints included UK acts like My Vitriol and Engineers, alongside a wider reassessment of 1990s shoegaze through reissues and online music communities.

Blog era and global spread

As music blogging, MySpace, and later Bandcamp lowered barriers, the sound spread globally. US and Canadian bands such as Asobi Seksu, A Place to Bury Strangers, Ringo Deathstarr, No Joy, and Tamaryn blended shimmering guitars with hook-forward indie and occasional electronics. Labels and tastemaker scenes connected nu gaze to dream pop, noise pop, and post-punk currents.

2010s consolidation

The 2010s saw a sustained wave of releases—DIIV, Nothing, and others—while classic shoegaze reunions (e.g., My Bloody Valentine, Slowdive) raised the profile of the broader aesthetic. Production became more refined: brighter highs, controlled low end, sidechain dynamics, and synth layering sat alongside traditional dense guitar stacks.

Today

Nu gaze persists as a flexible toolkit—part shoegaze, part modern indie—informing popgaze, dreamo, and heavier fusions like doomgaze/blackgaze. Its geography is diffuse (UK, US, Japan, Scandinavia, Latin America), sustained by online micro-scenes and the continued cross-pollination of guitar and electronic music.

How to make a track in this genre

Core instrumentation and tone
•   Guitars: Layer 2–6 tracks per part with complementary tones (clean chorus, mild overdrive, fuzz). Use wide stereo panning and varied pedals (reverb, delay, chorus, tremolo, pitch-shift, reverse). Consider EBow or bar vibrato for sustained, voice-like lines. •   Bass: Provide a steady, melodic anchor; slightly compressed, sometimes with light overdrive to cut through dense guitars. •   Drums: Mid-tempo (90–130 BPM) with tight kick–snare and understated cymbals. Blend acoustic kits with subtle drum machines for modern punch. •   Synths: Pad the mid–high space with analog-style pads, soft strings, or granular textures; sidechain lightly to the kick for clarity.
Harmony, melody, and form
•   Harmony: Favor diatonic progressions with color tones (add9, sus2, maj7). Drone bass or pedal notes help create the “hovering” feel. •   Melody: Vocals are soft, breathy, and often blended into the mix as another texture. Hooks should be simple and memorable, often outlining chord tones. •   Structure: Verse–chorus with textural builds; use post-rock lifts (e.g., gradual layer additions, dynamic swells) instead of big rhythmic shifts.
Production and mixing
•   Space: Plate or hall reverbs with pre-delay; stack short and long delays to create depth without washing out transients. •   Layers: Contrast bright, fizzy top-end guitars with warmer mids; use complementary EQ cuts to make layers interlock. High-pass non-bass elements (60–100 Hz) to preserve low-end clarity. •   Dynamics: Gentle bus compression and tasteful saturation/glue; automate reverb/delay sends to bloom into fills or chorus entries.
Lyric themes and performance
•   Themes: Introspective, impressionistic, or nostalgic imagery fits the dreamy, cinematic mood. •   Delivery: Understated, close-mic vocals; double-tracking and harmonies can thicken without overpowering the texture.

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