Dream Pop: Difference between revisions

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Generally, if someone says "dream pop", they're most likely thinking of bands in [[The Eighties]] on the 4AD label, such as [[Dead Can Dance]], [[Cocteau Twins]], Dif Juz and the genre's own [[Supergroup]], [[This Mortal Coil]]. These bands represent dream pop's "classic sound" - all instruments and voices soaked in reverb, breathy vocals, introspective themes and creating a wall of sound out of generally sparse instrumentation <ref>even the more arrangement-heavy dream pop bands like the Cocteaus stuck to the standard guitar-bass-drums-keyboards lineup; only [[This Mortal Coil]] really used string sections, and even they stuck to minimal arrangements instead of overproduction</ref>, adding up to something that, all snarkery aside, is really quite beautiful. Most dream pop bands varied in terms of emotion between [[Tear Jerker|somber and depressing]], [[Nightmare Fuel|terrifying]] and [[Sweet Dreams Fuel|optimistic]]. Still, not every band on 4AD was dream pop ([[The Pixies]], [[The Breeders]], Colourbox and [[Throwing Muses]] were on the label) and not every dream pop band was on 4AD (Cranes, The Passions, Bel Canto, Galaxie 500 and The Dream Academy among many others were on other labels). While dream pop was intially a pretty unified genre, variations on the basic "ethereal soundscapes + pop melodies" formula soon appeared, in particular bands that focused more on guitars than synths. Pretty soon, the genre started splintering into a ton of other subgenres as well: Low went into [[Slowcore]], Mazzy Star smashed together [[Dream Pop]], [[Shoegazing]] and [[Psychedelic Rock]], [[Love Spirals Downwards]] went into electronica, and so on.
Generally, if someone says "dream pop", they're most likely thinking of bands in [[The Eighties]] on the 4AD label, such as [[Dead Can Dance]], [[Cocteau Twins]], Dif Juz and the genre's own [[Supergroup]], [[This Mortal Coil]]. These bands represent dream pop's "classic sound" - all instruments and voices soaked in reverb, breathy vocals, introspective themes and creating a wall of sound out of generally sparse instrumentation <ref>even the more arrangement-heavy dream pop bands like the Cocteaus stuck to the standard guitar-bass-drums-keyboards lineup; only [[This Mortal Coil]] really used string sections, and even they stuck to minimal arrangements instead of overproduction</ref>, adding up to something that, all snarkery aside, is really quite beautiful. Most dream pop bands varied in terms of emotion between [[Tear Jerker|somber and depressing]], [[Nightmare Fuel|terrifying]] and [[Sweet Dreams Fuel|optimistic]]. Still, not every band on 4AD was dream pop ([[The Pixies]], [[The Breeders]], Colourbox and [[Throwing Muses]] were on the label) and not every dream pop band was on 4AD (Cranes, The Passions, Bel Canto, Galaxie 500 and The Dream Academy among many others were on other labels). While dream pop was intially a pretty unified genre, variations on the basic "ethereal soundscapes + pop melodies" formula soon appeared, in particular bands that focused more on guitars than synths. Pretty soon, the genre started splintering into a ton of other subgenres as well: Low went into [[Slowcore]], Mazzy Star smashed together [[Dream Pop]], [[Shoegazing]] and [[Psychedelic Rock]], [[Love Spirals Downwards]] went into electronica, and so on.


Dream pop was an important influence on the emergence of [[Shoegazing]], and starting with [[The Nineties]] the two genres began cross-breeding and eventually became indistinguishable. You're not likely to find many [[Dream Pop]] bands that use the "classic sound" of the Cocteaus or This Mortal Coil anymore, although there are a few new bands, such as [[Beach House]], that continue the "traditional" dream pop sound. There aren't many of these, but they're pretty popular amongst indie kids. Instead, there's a ton of bands that are somewhere between dream pop and shoegazing (which in itself could be called [[Dream Pop]] taken [[Up to Eleven]]), most likely thrown under the umbrella term "post-rock" - a good example of this would be [[Sigur Ros]].
Dream pop was an important influence on the emergence of [[Shoegazing]], and starting with [[The Nineties]] the two genres began cross-breeding and eventually became indistinguishable. You're not likely to find many [[Dream Pop]] bands that use the "classic sound" of the Cocteaus or This Mortal Coil anymore, although there are a few new bands, such as [[Beach House]], that continue the "traditional" dream pop sound. There aren't many of these, but they're pretty popular amongst indie kids. Instead, there's a ton of bands that are somewhere between dream pop and shoegazing (which in itself could be called [[Dream Pop]] taken [[Up to Eleven]]), most likely thrown under the umbrella term "post-rock" - a good example of this would be [[Sigur Rós]].


[[David Lynch]] likes this genre, as seen through his production work with [[Julee Cruise]] and his use of [[This Mortal Coil]]'s [[Crowning Music of Awesome|awesome cover]] of "Song to the Siren" in ''[[Lost Highway]]''.
[[David Lynch]] likes this genre, as seen through his production work with [[Julee Cruise]] and his use of [[This Mortal Coil]]'s [[Crowning Music of Awesome|awesome cover]] of "Song to the Siren" in ''[[Lost Highway]]''.
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* All [[Shoegazing]] bands can be associated with dream pop due to the latter's influence on the former and some overlap between the two genres. For some it's reasonable ([[Slowdive]], which later evolved into the aforementioned Mojave 3, ''possibly'' [[Starflyer 59]]), for others it's just too much of a stretch ([[My Bloody Valentine (band)|My Bloody Valentine]] are pure shoegazing, [[Lush]] had their moments but too few to actually call them dream pop, [[Ride]] moved into different territory later on).
* All [[Shoegazing]] bands can be associated with dream pop due to the latter's influence on the former and some overlap between the two genres. For some it's reasonable ([[Slowdive]], which later evolved into the aforementioned Mojave 3, ''possibly'' [[Starflyer 59]]), for others it's just too much of a stretch ([[My Bloody Valentine (band)|My Bloody Valentine]] are pure shoegazing, [[Lush]] had their moments but too few to actually call them dream pop, [[Ride]] moved into different territory later on).
** On that note, Asobi Seksu switched to dream pop on their third album after two albums of imitating [[My Bloody Valentine (band)|My Bloody Valentine]]. Apparently they were just tired of imitating MBV and wanted to try something else.
** On that note, Asobi Seksu switched to dream pop on their third album after two albums of imitating [[My Bloody Valentine (band)|My Bloody Valentine]]. Apparently they were just tired of imitating MBV and wanted to try something else.
* [[Sigur Ros]] (dream pop + [[Post Rock]])
* [[Sigur Rós]] (dream pop + [[Post Rock]])
* The Sundays (debatable, some people claim they are just a more laid-back version of [[The Smiths]])
* The Sundays (debatable, some people claim they are just a more laid-back version of [[The Smiths]])
* The xx are fairly modern, but unmistakably dreamy, breathy, and beautiful.
* The xx are fairly modern, but unmistakably dreamy, breathy, and beautiful.

Revision as of 14:21, 5 October 2014

Dream Pop. It sounds really lovely and you can fall asleep to it.

Dream pop is a specific subgenre of Alternative Rock that emerged in the middle of The Eighties, and is commonly associated with the label 4AD Records. As befitting its name, dream pop lies in the middle between Ambient music and pop: it borrows the emphasis on ethereal soundscapes typical of the former and applies it to the catchy melodies of the latter. Theoretically this gives it the best of both worlds, since it avoids both ambient's excessive monotony or inscrutability and pop's shallower tendencies. In troper terms, it's basically the musical equivalent of Scenery Porn.

While the genre itself appeared in The Eighties, the Velvet Underground song "Sunday Morning" has been cited as basically the Ur Example of the genre, once again supporting the old joke that people who buy Velvet Underground albums will start their own bands.

Dream pop's indie status means that its bands don't have access to incredibly advanced equipment or funds in their quest for sonic beauty. Typical characteristics of the genre include heavily processed guitars and synthesizers, breathy, high-pitched generally female vocals - the occasional male vocals show up but they tend to be just as breathy - and heavy use of reverb and echo to give the songs a sort of celestial atmosphere. Basically, you can think of dream pop as the musical equivalent of Scenery Porn with a tendency to Perishing Alt Rock Voice. Thanks to its association with 4AD, the genre even had its own distinctive visual identity thanks to Vaughan Oliver and v23's work for that label: Minimalistic Cover Art designs employing very blurry imagery and occasional use of Deliberately Monochrome.

Generally, if someone says "dream pop", they're most likely thinking of bands in The Eighties on the 4AD label, such as Dead Can Dance, Cocteau Twins, Dif Juz and the genre's own Supergroup, This Mortal Coil. These bands represent dream pop's "classic sound" - all instruments and voices soaked in reverb, breathy vocals, introspective themes and creating a wall of sound out of generally sparse instrumentation [1], adding up to something that, all snarkery aside, is really quite beautiful. Most dream pop bands varied in terms of emotion between somber and depressing, terrifying and optimistic. Still, not every band on 4AD was dream pop (The Pixies, The Breeders, Colourbox and Throwing Muses were on the label) and not every dream pop band was on 4AD (Cranes, The Passions, Bel Canto, Galaxie 500 and The Dream Academy among many others were on other labels). While dream pop was intially a pretty unified genre, variations on the basic "ethereal soundscapes + pop melodies" formula soon appeared, in particular bands that focused more on guitars than synths. Pretty soon, the genre started splintering into a ton of other subgenres as well: Low went into Slowcore, Mazzy Star smashed together Dream Pop, Shoegazing and Psychedelic Rock, Love Spirals Downwards went into electronica, and so on.

Dream pop was an important influence on the emergence of Shoegazing, and starting with The Nineties the two genres began cross-breeding and eventually became indistinguishable. You're not likely to find many Dream Pop bands that use the "classic sound" of the Cocteaus or This Mortal Coil anymore, although there are a few new bands, such as Beach House, that continue the "traditional" dream pop sound. There aren't many of these, but they're pretty popular amongst indie kids. Instead, there's a ton of bands that are somewhere between dream pop and shoegazing (which in itself could be called Dream Pop taken Up to Eleven), most likely thrown under the umbrella term "post-rock" - a good example of this would be Sigur Rós.

David Lynch likes this genre, as seen through his production work with Julee Cruise and his use of This Mortal Coil's awesome cover of "Song to the Siren" in Lost Highway.

The polar opposite of this genre is Drone Metal, which is Nightmare Fuel in music form.

Bands associated with dream pop include:

  1. ↑ even the more arrangement-heavy dream pop bands like the Cocteaus stuck to the standard guitar-bass-drums-keyboards lineup; only This Mortal Coil really used string sections, and even they stuck to minimal arrangements instead of overproduction
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