2017 was an astounding year for Shoegaze, Dream Pop, Psychedelic influenced Shoegaze, Atmospheric Metal Gaze and much more...
Too many bands to list so just browse through or listen to over one and a half days of awesome Shoegaze and closely related genres.

The Shoegazer Sanctuary Music Network Will Deliver.

Light years beyond the single social media music group, Shoegazer Sanctuary is officially a great Shoegaze multimedia, multinational juggernaut, with several sky high music platform each with a specific purpose directly promoting the artists that create the music we love. You make this network happen. SSRFM harbors mass quantities of quality music. Join one and you have joined all. More to come.

THIS IS THE SHOEGAZER SANCTUARY MUSIC NETWORK

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Radio Experience "The Sanctuary" (Radio Show)
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Shoegazer Sanctuary Records (New)
Download the critically acclaimed "Dreaming In Sound" The artists created a magnum opus album for the ages. 
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Shoegazer Universe 2017 | Volume VII

Schonwald  - a forest / the cure cover on free download
https://schonwald.bandcamp.com/

a forest (the cure cover)

un live project avviato tramite il blog "neuterkar.blogspot.it" nell'inverno del 2010, è un progetto composto da individui che seguono determinate regole:

-non si definiscono artisti
-non si definiscono musicisti
-non si definiscono un collettivo
-non si definiscono straight edge
-non si definiscono politicamente schierati
-non si definiscono.

il live-project prevede una riunione settimanale di 2 ore di jam session di improvvisazione finalizzata principalmente alla preparazione e strutturazione dei live.
noi non facciamo performance, eseguiamo la catarsi.
è palese che il genere musicale non conta in questo progetto.

intro

Il cielo in una stanza a Primaporta (cover Gino Paoli)

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

And I will show you something different from either 
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
                                                         T. S. Eliot, The Waste Land

Last track off Umbrella Burning Festival POEMS IN BRAILLE EP (2015). 
Recorded at Recall Recording Studio. 
Mixed and mastered at Wax Recording Studio.

As Everything Falls Apart

John Treanor - guitar/keyboards/vocals
Josh Drew - guitar
Mike Mason - bass/guitar
Stephen Striegel - drums (Fear, Separate, Always There)
Michael Sanger - drums (I Want To Fly, Another Day)
James Cooper - synth, electronic drums (Separate), musical guidance
Larry Salzman - percussion
Paul Roessler - keyboards

Produced by Paul Roessler and John Treanor
Recorded by Paul Roessler at Kitten Robot Studios
Mastered by Alex DeYoung
Front Cover Art by Darren Grealish
Cover Design by Steve Gerdes

Send Me Your Head Records - SND 005

Fear

I Want To Fly

1.) False Mirror

I see this stranger in my reflection 
It comes back to me
Who I am, who I've become 

The world's we create inside reflect off the world outside 
In these false mirrors we hide

I hear these thoughts
I question if they're even mine

The world bleeds into me
Others become mine
The worlds we create outside distort the worlds inside 

In the mirror I see a reflection that isn't mine
This strangers fades in & out 
In this false mirror I'll hide

Pendulum

False Mirror

From the upcoming debut album 'Auras', out June 30 2017 on Hobbledehoy Record Co. Pre-order - https://hobbledehoyrecords.com/store/deafcult-auras

Deafcult - Rubix

Written by Rein Fuks
Arranged, recorded & produced by Pia Fraus @ Seksound Studio, Tallinn
Mixed & mastered by Lauri Liivak, Pärnu
 
Eve Komp - vocals, synths, metallophone
Kärt Ojavee - synths
Rein Fuks - guitars, vocals, percussions
Reijo Tagapere - bass
Margus Voolpriit - drums
Kristel Eplik - back vocals

www.piafraus.com

That's Not All

SEKs062 Pia Fraus "That's Not All" (Single Edit)(2017)

bittersweet

Shoegaze/ Noise/ Experimental band

Sara Massiah: Bass
Edoardo Lelli: Voice
Marco Scarcelli: Drums

WELCOME TO THE ABSOLUTE CENTER OF THE SHOEGAZING UNIVERSE!
Our original playlist series Cutting Edge Shoegazer Tracks was created here at SSRFM | Real Shoegaze Radio and is the GOTO playlist series for the latest and noisiest Shoegaze on planet earth don't let others fool you into thinking they know better, they don't know sht*ff. Shoegazer Sanctuary Radio is where it all started. 

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Best place(s) on the planet to discover, share Shoegaze and make new friends 

SHOEGAZER SANCTUARY
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As Everything Falls Apart

Umbrella Burning Festival

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