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Dream pop 31 languages

Contents [hide] Article Talk Read Edit View history Tools

(Top) From Wikipedia, the free encyclopedia

Characteristics
Dream pop (also typeset as dreampop)[7] is a subgenre of alternative rock[8] and neo-psychedelia[9] that
History Dreampop
emphasizes atmosphere and sonic texture as much as pop melody. Common characteristics include breathy
Stylistic Alternative rock · neo-psychedelia ·
1960s–1970s: Origins vocals, dense productions, and effects such as reverb, echo, tremolo, and chorus. It often overlaps with the origins ethereal wave[1] · gothic rock[2] ·
Early–mid 1980s: Development related genre of shoegaze, and the two genre terms have at times been used interchangeably. indie music[3]

Late 1980s–1990s: Shoegaze The genre came into prominence in the 1980s through the work of groups such as Cocteau Twins and A.R. Cultural 1980s, United Kingdom
scene origins
Kane. Subsequently, acts such as My Bloody Valentine, Slowdive, Galaxie 500, Julee Cruise, Lush, and
Mazzy Star released significant albums in the style. It saw renewed popularity among millennial listeners Derivative Shoegaze[4] · chillwave[5]
2000s: Contemporary developments
forms
List of artists following the late-2000s success of acts such as Beach House and M83.
Fusion genres
See also Ambient pop[6]
Characteristics [ edit ]
References Other topics
The term dream pop is thought to relate to the "immersion" in the music experienced by the listener.[10] The List of dream pop artists · indie pop ·
AllMusic Guide to Electronica (2003) defined dream pop as "an atmospheric subgenre of alternative rock that psychedelic pop
relies on sonic textures as much as melody".[11] According to Paste, the genre emphasizes mood and
sonics over lyrics, so that "chords and tracks blur seamlessly into one another so frequently that it Chorus and echo effects, as heard on
electric guitar.
can be difficult to even decipher when one song ended and another has begun."[12] Common
0:35
characteristics are breathy vocals, the use of guitar effects, and a densely produced sound,[11] with
"nebulous, distorted guitars" paired with "murmured vocals sometimes completely smudged into a A demonstration of sound effects used in
dream pop.
wall of noise."[9] The music tends to focus on textures rather than propulsive rock riffs.[13] Effects
Problems playing this file? See media help.
such as reverb and echo are ubiquitous, with tremolo and chorus also heard on recordings.[3]

Lyrics are often introspective or existential in nature,[13] but may be difficult to hear or incomprehensible in the mix.[12] In the view of critic Simon Reynolds,
dream pop "celebrates rapturous and transcendent experiences, often using druggy and mystical imagery".[9] In 1991, he suggested this escapist tendency
might be a response to the cultural landscape of the UK during the 1980s: "After 12 years of Conservative government in Britain, any idealism or
constructive political involvement seems futile to these alienated middle-class dropouts."[9] Similarly, according to Rachel Felder, dream pop artists often
resist representations of social reality in favour of ambiguous or hallucinogenic experiences.[14]

History [ edit ]

1960s–1970s: Origins [ edit ]

Author Nathan Wiseman-Trowse writes that the "approach to the sheer physicality of sound" integral to dream pop was "arguably pioneered in popular
music by figures such as Phil Spector and [Beach Boys founder] Brian Wilson."[14] The music of the Velvet Underground in the 1960s and 1970s, which
experimented with repetition, tone and texture over conventional song structure, was also an important touchstone in the genre's development.[14] Their
1967 debut The Velvet Underground & Nico incorporated what music critic Marc Beamount terms "psychedelic dream pop" in addition to a variety of other
styles.[15] 1960s band the Byrds would influence the "swoony harmonies" of later British dream pop groups.[9]

The Beach Boys recorded an early dream pop song, "All I Wanna Do", for their 1970 album Sunflower.[16][17][18] Critic Jim Allen, who cites the Beach Boys
as the "godfathers" of dream pop, says that the song's unprecedented "cinematic dream sequence" production style marks the point "where the dream pop
family tree starts to come into focus."[16] However, the Beach Boys' impact on the genre was not widely acknowledged until after the 2000s.[16]

Music journalist John Bergstrom recognises George Harrison's 1970 track "Let It Down" as a progenitor of the genre, while stating that its Spector-
produced parent album All Things Must Pass influenced "many guitar-driven, echo-drenched bands have come around since, mixing powerful rave-ups
with moody, reflective down-tempo numbers and a spiritual bent.[19]

Early–mid 1980s: Development [ edit ]

A.J. Ramirez of PopMatters recognises an evolutionary line from gothic rock to dream pop.[2] The early 1980s gothic-derived "ethereal wave" subgenre,
with its effects-laden guitar sounds and female vocals, led to the dream pop and shoegaze scenes; it was represented by Cocteau Twins and labels such
as 4AD and Projekt Records.[20] Rolling Stone describes "modern dream pop" as originating with the early 1980s work of Cocteau Twins and their
contemporaries.[21] AllMusic's Jason Ankeny credits the Cocteau Twins' "distinctly ethereal" sound and singer Elizabeth Fraser's operatic, indecipherable
vocals with defining their label, the UK-based 4AD.[22] According to Pitchfork, Vini Reilly of the Durutti Column "embodied the cliché of the suicidal dream-
pop guitarist in the mid-1980s" with his "narcotic performances" presaging later acts such as My Bloody Valentine and Galaxie 500.[23]

The 1984 album It'll End in Tears by 4AD's "dream-pop supergroup" This Mortal Coil[21] was conceived by label head Ivo Watts-Russell and featured
members of Cocteau Twins and Dead Can Dance. The album helped "set the template for dream pop" and associated the formerly gothic-affiliated UK
label with the style.[24] The album's 1983 single, the Tim Buckley cover "Song to the Siren", became an influential work in the genre, and saw success in
the UK Indie Chart, remaining there consistently for two years.[24] Film director David Lynch, unable to obtain the rights to This Mortal Coil's version of
"Song to the Siren" for his 1986 film Blue Velvet, enlisted composer Angelo Badalamenti and singer Julee Cruise to record a replacement track. The result
was "Mysteries of Love", described by Rolling Stone as a significant development of the dream pop sound which "gave the genre its synthy sheen".[21] The
trio of Cruise, Lynch and Badalamenti later recorded the 1989 album Floating into the Night, which further elaborated on the style and featured the Twin
Peaks theme and UK top 10 single "Falling".[21]

Late 1980s–1990s: Shoegaze scene [ edit ]

Main article: Shoegaze

The term "dreampop" was coined in the late 1980s by Alex Ayuli of A.R. Kane to describe his band's eclectic sound, which blended ethereal dub
production, effects-laden guitar, and drum machine backing, among other influences.[25] The group signed to 4AD to release their 1987 EP Lollita,
produced by Cocteau Twins guitarist Robin Guthrie.[26] Pitchfork describes their debut album Sixty Nine (1988) as a "crucial document" of the dream pop
movement, commenting that the group "aimed to emulate an ethereality that could just as easily become nightmarish," resulting in music that feels "just out
of reach, like your memory struggling to grasp the last wisp of a dream before it slips away."[27] Their "dreampop" label was subsequently adopted by
music critic Simon Reynolds to describe that group[28] and later extended to the nascent shoegazing scene in the UK.[9] Reynolds describes the movement
as "a wave of hazy neo-psychedelic groups" characterised by a "blurry, blissful sound", and credits the influence of the "ethereal soundscapes" of Cocteau
Twins as well as more distorted styles of American alternative rock.[9]

In the 1990s, "dream pop" and "shoegazing" were interchangeable and regionally dependent terms, with "dream pop" being the name by which
"shoegazing" was typically known in America.[29] AllMusic describes the dream pop label as covering both the "loud, shimmering feedback" of My Bloody
Valentine and the "post-Velvet Underground guitar rock" of Galaxie 500.[30] My Bloody Valentine showcased a unique dream pop sound on their 1988
debut album Isn't Anything, with guitarist Kevin Shields employing a tremolo-arm technique in order to produce "an amorphous drone, at once visceral and
disembodied".[9] Galaxie 500 provided a "cornerstone" of the genre in their 1989 album On Fire, with their downtempo, reverb-laden sound becoming
influential.[12] UK bands acts as A.R. Kane, My Bloody Valentine and Ride played an influential role in the development of the movement.[31] Other
prominent acts to emerge from the movement include Slowdive and Chapterhouse.[9]

The 1990 Cocteau Twins album Heaven or Las Vegas proved an iconic release in the genre.[24] The UK band Lush became an influential act in the genre
during the 1990s, with Robin Guthrie producing their 1992 debut album Spooky.[31] The 1993 album So Tonight That I Might See by American band Mazzy
Star reflected a dream pop sound specific to "the glitzy decay that is L.A.", according to Pitchfork; that publication called the album a "dream pop
classic".[32] The late 1980s dream pop of A.R. Kane and My Bloody Valentine influenced 1990s acts such as Seefeel and Insides,[33] who began
incorporating elements such as samples and sequenced rhythms.[34] Ambient pop music is described by AllMusic as "essentially an extension of the
dream pop that emerged in the wake of the shoegazer movement", distinct for its incorporation of electronic textures and techniques such as sampling.[6]

2000s: Contemporary developments [ edit ]

The 2007 album Person Pitch by Panda Bear combined Beach Boys-influenced dream pop with modern sampledelic techniques, winning acclaim and
exerting a wide influence.[35] Much of the music associated with the 2009-coined term "chillwave" could be considered dream pop;[7] In the opinion of
Grantland's David Schilling, the critical discussion surrounding "chillwave" revealed that labels such as "shoegaze" and "dream pop" were ultimately
"arbitrary and meaningless".[36] The 2010 album Teen Dream by Baltimore duo Beach House established the group as purveyors of modern dream pop
that drew on the "languid reveries" of Cocteau Twins, Mazzy Star and Galaxie 500.[24] The group's success in the late 2000s solidified the popularity of
dream pop with millennial listeners.[3]

List of artists [ edit ]

M i i l Li fd i
 Main article: List of dream pop artists

See also [ edit ]

Noise pop
Ethereal wave
Vaporwave

References [ edit ]

1. ^ Olivier Bernard: Anthologie de l'ambient, Camion Blanc, 2013, ISBN 2-357-
794151
"L'ethereal wave s'est développée à partir du gothic rock ... Cela est rendu
par des effets d'écho, de reverb et de delay très imposants sur les guitares...
On relève une prédominance d'un chant féminin haut perché ou très ample et
de voix masculines soufflées, douces at contemplatives. Les paroles sont
parfois difficilement compréhensibles... L'ethereal wave (et notamment les
Cocteau Twins) a grandement influencé le shoegaze et la dream pop. Les
labels principaux promouvant le genre sont 4AD et Projekt Records."
2. ^ a b Ramirez, A.J. (31 October 2009). " 'Bela Lugosi's Dead': 30 Years of
Goth, Gloom, and Post-Post-Punk" . PopMatters. Retrieved 11 January
2017.
3. ^ a b c Fumo, Dante (16 October 2018). "How to Record Dream Pop in Your
Home Studio" . Reverb. Retrieved 17 July 2021.
4. ^ Nathaniel Wice / Steven Daly: "The dream pop bands were lionized by the
capricious British music press, which later took to dismissing them as
"shoegazers" for their affectless stage presence.", Alt. Culture: An A-To-Z
Guide to the '90s-Underground, Online, and Over-The-Counter, p.73,
HarperCollins Publishers 1995, ISBN 0-0627-3383-4
5. ^ Weiss, Dan (6 July 2012). "Slutwave, Tumblr Rap, Rape Gaze: Obscure
Musical Genres Explained" . LA Weekly.
17. ^ Deriso, Nick (16 May 2021). "Top 10 Post-'Pet Sounds' Beach Boys
Songs" . Ultimate Classic Rock.
18. ^ "Violet's 'tracks to listen to on tour' playlist, feat. Spinn, Kylie, Swim Deep
and more" . Dork. 16 May 2019.
19. ^ Bergstrom, John (14 January 2011). "George Harrison: All Things Must
Pass" . PopMatters. Retrieved 1 April 2012.
20. ^ "L'ethereal wave s'est développée à partir du gothic rock ... Cela est rendu
par des effets d'écho, de reverb et de delay très imposants sur les guitares ...
On relève une prédominance d'un chant féminin haut perché ou très ample et
de voix masculines soufflées, douces at contemplatives. Les paroles sont
parfois difficilement compréhensibles ... L'ethereal wave (et notamment les
Cocteau Twins) a grandement influencé le shoegaze et la dream pop. Les
labels principaux promouvant le genre sont 4AD et Projekt Records."
21. ^ a b c d Grow, Kory (25 July 2014). "Dream Team: The Semi-Mysterious
Story Behind the Music of 'Twin Peaks' " . Rolling Stone. Wenner Media.
Retrieved 6 August 2016.
22. ^ Ankeny, Jason. "Cocteau Twins' Biography" . AllMusic. Retrieved 8 March
2012.
23. ^ Unknown. "The Durutti Column: Keep Breathing Album Review" .
Pitchfork. Retrieved 26 March 2022.
24. ^ a b c d Berman, Judy. "The 30 Best Dream Pop Albums" . Pitchfork.
Retrieved 27 May 2021.
6. ^ a b "Ambient Pop" . AllMusic.
7. ^ a b Abebe, Nitsuh (22 July 2011). "Chillin' in Plain Sight" . Pitchfork.
8. ^ Anon (n.d.). "Dream Pop" . AllMusic.
9. ^ a b c d e f g h i Reynolds, Simon (1 December 1991), "Pop View; 'Dream-
Pop' Bands Define the Times in Britain" , The New York Times, retrieved
7 March 2010
10. ^ Goddard, Michael et al. (2013) Resonances: Noise and Contemporary
Music, Bloomsbury Academic, ISBN 978-1-4411-5937-3
11. ^ a b Bogdanov, Vladimir (2001). The AllMusic Guide to Electronica ,
Backbeat UK, ISBN 978-0-87930-628-1, p. ix.
12. ^ a b c Staff (21 August 2020). "The 25 Best Dream Pop Albums of All
Time" . Paste. Retrieved 29 May 2021.
13. ^ a b Bogdanov, Vladimir (2001). All Music Guide to Electronica: The
Definitive Guide to Electronic Music (4th ed.). Backbeat Books. pp. ix.
ISBN 978-0-87930-628-1.
14. ^ a b c Wiseman-Trowse, Nathan (30 September 2008). Performing Class in
British Popular Music . Springer. pp. 148–154. ISBN 9780230594975.
15. ^ Beaumont, Marc (13 November 2020). "The Velvet Underground's Loaded
at 50" . The Independent. Retrieved 27 June 2021.
16. ^ a b c Allen, Jim (13 December 2021). "How The Beach Boys Became The
Godfathers Of Dream Pop" . UDiscover Music. Retrieved 30 July 2022.
25. ^ King, Richard (2012). How Soon is Now?: The Madmen and Mavericks who
made Independent Music 1975-2005 . Faber & Faber. p. 206. ISBN 978-0-
571-27832-9.
26. ^ "A.R. Kane Biography & History" . AllMusic. Retrieved 10 February 2017.
27. ^ "A.R. Kane: 69 Album Review | Pitchfork Media" . pitchfork.com.
Retrieved 14 February 2021.
28. ^ Reynolds, Simon. "A.R. Kane features 1987-2012" .
Reynoldsretro.blogpsot.com. Retrieved 31 July 2017.
29. ^ Tyler, Kieron (17 January 2016). "Reissue CDs Weekly: Still in a Dream - A
Story of Shoegaze" . The Arts Desk.
30. ^ "Dream Pop Genre Overview" . AllMusic. Retrieved 30 May 2021.
31. ^ a b OUMANO, ELENA (May 1992). "Dream Pop Landscape Is Very
Lush" . Los Angeles Times. Retrieved 29 May 2021.
32. ^ Moreland, Quinn (14 June 2020). "Mazzy Star: So Tonight That I Might
See" . Pitchfork.
33. ^ Reynolds, Simon (2011). Bring the Noise: 20 Years Writing About Hip Rock
and Hip Hop. Soft Skull. p. 190.
34. ^ Reynolds, Simon (1994), "Quique – Seefeel review", Spin
35. ^ Oinonen, Janne. "Tomboy - Panda Bear" . The Line of Best Fit. Retrieved
19 January 2022.
36. ^ Schilling, Dave (8 April 2015). "That Was a Thing: The Brief History of the
Totally Made-Up Chillwave Music Genre" . Grantland.com.

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