Seagaze 2018 Bands

Erik Blood


Erik Blood creates music that lives in the magic hour. His production is a nuanced secret told only to his co-conspirators (Shabazz Palaces, Moondoggies, THEESatisfaction most notably). After two albums and a film score, Blood is delving further inward, into the dream, and returning with tales and melodies that evoke the warmth between two bodies and the dizziness of love, sex, or other substances



sciflyerFinally located by SETI and transmitted via VALIS to the 3-dimensional world here.




The Shivas are a rock and roll band from Portland, Oregon formed in 2006. In the 10 years since forming they have brought their raucous dance party to almost all 50 states, and over 25 countries worldwide, meanwhile releasing five full-length albums and three EPs on labels such as K Records and Burger Records. With the release of their latest – TURN ME ON (out May 12, 2017 on Burger Records/Annibale Records) they set out on spring/summer tours across North America and Europe, spending a few weeks at home in their time off to finish working on their 6th LP, set to come out in 2018. Keep an eye out for an upcoming Shivas show in your town. Chances are, no matter where you live, they will be coming through soon.



28783426_10156976621058812_5856851031650505891_n.jpgNew Candys formed in Venice (Italy) in 2008. Their influences have roots in The Velvet Underground and Syd Barrett. After a self-produced EP, in 2012 they released the album “Stars Reach The Abyss” on Foolica, a UK tour followed. In 2015 they took part in “The Reverb Conspiracy”, compilation curated by Fuzz Club/The Reverberation Appreciation Society (Levitation Austin). Later that year “New Candys As Medicine”, album mixed by John Wills (producer and drummer of Loop), has been released on both Picture In My Ear/Fuzz Club and added to The Committee To Keep Music Evil catalogue, receiving praises from Simone Marie Butler of Primal Scream and Stephen Lawrie of The Telescopes. Three EU/UK tours followed, including festivals like The Secret Garden Party 2015 and Liverpoool Psych Fest 2016. Their third album “Bleeding Magenta” has been released October 6th 2017 on Fuzz Club, songs from it have recently been featured on KEXP’s Music That Matters Podcast and on episodes of Showtime Networks original TV series “Shameless”. Their fourth EU/UK tour and first Australian tour followed (headlining both Sydney and Melbourne Psych Fests) with a US-Mexico tour planned in April-May 2018. They shared the stage with The Warlocks, Dead Skeletons, Crystal Stilts, Slowdive, Savages, Jon Spencer Blues Explosion and The Vaccines among others.



Brooklyn-based psych-rock band, Heaven, announce their sophomore album, All Love is Blue, due out on March 2, 2018 via Little Cloud Records. The 10-track LP is produced by the band, engineered by Albert DiFiore (Caveman, Sinkane, Beck) mixed by Al Carlson (Zola Jesus, Widowspeak).

Heaven is Matt Sumrow (vocals and guitar), Mikey Jones (drums) and Liz Lohse (keyboards and vocals). Sumrow and Jones created the band in the wake of touring and recording with artists such as Dean and Britta, Swervedriver, Ambulance LTD, The Comas, Snowden, The Big Sleep and others.

A romantic clash between your Dad’s long-lost favorite psych record and the soundtrack to a John Hughes film, Heaven ride a massive sonic wave in delivering their dear and dreamy tracks. In July of 2013, Heaven released their debut LP Telepathic Love on Goodnight Records. The live lineup came together on the touring of Telepathic Love with the addition of keyboardist Liz Lohse (X-Ray Eyeballs), who has since become a permanent member.

As 2018 sees the release of All Love Is Blue on Little Cloud Records, out of Portland, Oregon, subsequent tour dates for Heaven in support of the album will follow. Their new work is a quantum leap forward for the band, both artistically and sonically, making the protracted wait between albums a huge payoff.



The band formed in 2014, their name inspired by a Chinese bar, called “The Good Luck”,  in Silverlake where the two had met in 2006. Loren played drums in April’s previous band,  but this time around they wanted to create electronic dance music, but, since they were also grinding away as LA advertising designers by day, the last thing they really wanted to was come home to eachother and be on the computer some more at night.   Inspired by Phantogram’s performance on, they ordered a moog phatty and moog minitaur and dumped the MPC/Abelton/Plugins to began constructing songs with just analogue synths, sequencers and electronic drum pads.

“…Electrowave and synth-wave, blended with cold-wave … an excellent record in hand which music sites and the dedicated “synthetic” media will discover sooner or later. A good band with a good record, and an excellent sound that came to light in acknowledged studios by some really skilled people. ” – Noise Journal

“Electropop … with an early 2000s vibe. Arise from the glorious era of the feminine Electropop movement. Here the musical roots are particularly good to hear. Especially worth mentioning is the very well articulated and transformable voice of April Love.”- Electro Zombies

“the likes of Kraftwerk and humanizes it through lush vocals and hazy electronica … the elegance and aloofness of the Blitz Kid originators…dreamy and sonorous, yet wonderfully lucid and focused … chilled out dance set meets the stoner haze..” – The Swindonian

“They successfully incorporate synth-heavy bass with polyphonic harmonies and crystalline vocals, propelling the music into trance-inducing territory.”-Synthpop lover

The duo construct darkly tinged analog daydreams.”-  Somewhere Cold

“To say that I was impressed with this album would be an understatement. LUCKYandLOVE are synthpop done right…a nod to the past with a wink toward the future.”- Echo Synthetic




Seattle post-punk gazers. Dreamy, dynamic and loud.
née C’est la Mort.

Seattle’s Fotoform create beautiful guitar-based dreamy post-punk. Propelled forward by Kim House’s melodic bass and Garrett Croxon’s (Fleet Foxes, Erik Blood, Moon Dial) swinging backbeat, Kim’s vocals glide over intertwining guitars from Geoff Cox and Stephen Jones (Red Martian).

Taking their name from a mid-century expressionist photography movement, Fotoform recall the gauzy atmosphere of UK alternative (The Cure, Cocteau Twins, Lush, Slowdive, Siouxsie and the Banshees) with the immediacy of US indie and post-punk. A captivating and arresting live band, Fotoform will be releasing their debut LP in early 2017, following an ultra-limited hand-lathed acetate 7” single.

Fotoform draw from the band members’ history in shoegaze/darkwave veterans, C’est la Mort, who enjoyed critical attention in the US and especially Europe. After weathering multiple line-ups (some bordering on the Spinal Tap-esque: one drummer left because of narcolepsy; another moved to Belgium to work for the DEA), C’est la Mort released one album and contributed to a number of compilations (including a tribute to The Smiths, alongside Stars, Doug Martsch, Telekinesis, Wedding Present, etc). C’est la Mort began performing as Fotoform in late 2016


Black Nite Crash

Black Light Crash

It’s no coincidence the band name was picked from the final and most explosive single by legendary Brit-rock band Ride. Black Nite Crash continues in the same fuzz-drenched tradition of gorgeous melodies and big guitar sounds. The band’s atmospheric, dynamic sound has seen them compared to The Church, The Pixies & The Jesus & Mary Chain. Black Nite Crash formed in 2002 in their adopted hometown of Seattle. Their latest album “Drawn Out Days” features ten tracks of blues-fused and blissful fuzz rock with memorable hooks. The band is actively playing venues around the Northwest and are busy writing and recording new songs with sights on future releases. Stay tuned and watch for the latest one, Nevergreen, the most recent came out in the late Summer of 2017.



Seattle’s VibraGun mixes the hard-driving shimmer of early 90’s british alternative with hips and swagger that would make Marc Bolan proud then slingshots the whole payload heavenward in a blast of cosmic rocketfire. Following the weird noise pop of their first EP, their 2014 eponymous full-length was engineered and produced by Evan Foster (Boss Martians, Dirty Sidewalks). The songs are rife with massive riffing, narcotic lyrics and midnight-drive adrenaline in songs such as “Send Me to Dream,” and was ranked by Huffington Post UK in their top 20 albums of the year.




The members of Portland’s Vibrissae travel between the worlds of guitar-oriented shoegaze and synth-based electronic music over the course of Somewhere Away, their debut album. Although they explore various moods, the four-piece frequently chooses to dwell on the darker side of things, with haunting vocals floating over walls of guitars and synths. According to, Vibrissae’s debut release is “innovative” and “captivating” and the band shows “tremendous range and ability.” Their music is described as “cripplingly lovely” by DKFM Radio and has been compared to Blonde Redhead, Lush, Ladytron, and The Cure. Somewhere Away is currently available from, as well as several other online vendors.

Blackpool Astronomy


Started as side project by Jeff McCollough a former founding member of 1990’s Seattle Shoegaze band Lapis. In 1998 the project took a backseat to several other endeavors. After a year Jeff had literally worked on over 25 recordings. He would work long into the night using various vintage technologies to create the sonic atmospheres. After a couple large and painful events he got back to work crafting sonic mayhem and he started to piece together the kind of sonic patchwork he wanted. He added the skills of Ben Madonna on the drums making Blackpool Astronomy a band instead of a solo project.  The sound started to veer towards more of a gothic shoegaze with a heavy psych bent. They dumped all the material from the first record to write a new set of songs and in January 2014 they went into studio and created “Tripping The Mortal Coil” which was a collection of song inspired by the events around them including a tragic loss of Jeff’s father to cancer and the grief he was feeling. This record had a much more open sound which has gotten high praise from radio stations,critics and fans. Last year Courtney Ward of Madame Damndable joined the band just a month before the 2017 Seagaze festival.  The band continued to play shows with good friend and Furniture Girls drummer Thane Mitchell. Even recording an acclaimed cover of LUSH’s Scarlet with him before his departure in early March for the TBTCI records tribute compilation “Love Life”. In late March of 2018 drummer Joe Jarvis of Sleepwell Citizen joined the band. The band will continue it’s forward progress and 2018 will be the year the band gains a wider audience. 

Black Ferns

Black Ferns is a three-piece alternative rock band from Seattle WA. Its music is diverse in mood and style with themes that explore addiction, love, and an unknown Orwellian future.

Merging strains of post punk with new wave and pop, Black Ferns wraps a haunting presence of cosmic psychedelia around its angular, riff-oriented heavy rock sound.

Black Ferns’ self titled album was produced by Riley Geare (Unknown Mortal Orchestra). Geare is also featured on drums for the album along with Chris Jordan on bass and Zoran Macesic on vocals and guitar.

Since their first release, the band has been touring and regularly playing shows in the Pacific Northwest. Black Ferns has been billed with great bands such as Wolf Alice, INVSN, Moving Units, My Goodness, Dust Moth, Second Still, Pale Dīan, Honduras, Panda Riot, and more.

 Coloring Electric Like


Portland-based Coloring Electric Like combines shoegaze rock with heavily effected guitar, synth-driven sounds and beats from trip-hop and industrial influences, and female lead vocals.

Benjamin Bowman hails from Indianapolis, and came to Portland for the purpose of carving out his musical sound. Mia Chemello has been in several Portland bands, but was always searching for “that sound”…..Bowman and Chemello met musically prior to meeting in person….by writing, recording, file swapping, and mixing what became their first joint effort, the song Bleed it Out. Subsequently meeting and working together made them realize they had both found their other musical half. They have been working on writing and recording what has become a catalog of the sound of Coloring Electric like since 2010.

Layers of guitar evoke the sounds of My Bloody Valentine, Lush, and Curve, while beats from multiple drum and synth loops have the drive and edge of Massive Attack and Nine Inch Nails. A backdrop of lush synth and strings is sublimely orchestral, and creates a large landscape of sound within which provocative female vocals reminiscent of Portishead and Sneaker Pimps intertwine. The duo produces a sound that is surprisingly big, with a haunting feel and danceable groove.




Hollow Sidewalks are Not People, there Ain’t No Way


Dirty Sidewalks


Seattle’s Dirty Sidewalks don’t just take sonic cues from the fuzzy haze of The Jesus and Mary Chain, the honed pop songcraft of Oasis or the rich vocal colors of The Beach Boys and The Everly Brothers—they keep it in the family, too. Formed in 2010 by Erik Foster, older brother (and founder of surf/garage outfit The Boss Martians) Evan Foster and longtime friend Evan O’Neil, the band plays anthemic tunes informed equally by ‘80’s college rock, ‘90’s Britpop and ‘60’s harmonies.

Bolstered sonically by the elder Foster’s crisp, punchy production and the younger’s songwriting and visual talents, Dirty Sidewalks are a force to be reckoned with. Since forming, they’ve played live extensively, opening for bands ranging from Har Mar Superstar and The Moving Units to The Mono Men and Young Fresh Fellows.

In May 2015, the trio released their first track, “It’s Getting Better,” as a digital single on Los Angeles-based label MuSick Recordings. An original yuletide bummer ballad, “It’s Xmas (And Everyone is Miserable),” landed on Soundcloud in December. Now, in 2016, their infectious hooks take physical form, with “It’s Getting Better” set for release as a 7” vinyl single in March, and debut LP Bring Down The House Lights following in the summer. With records in the pipleline, more songs in the quiver and tour dates forthcoming, this band of brothers are all set for a banner year in rock ‘n’ roll.



21557614_1945257939058649_876342354183039522_n New Age Healers is a shoegaze/psych-rock project conceived from the mind of Seattle based multi-instrumentalist Owen Murphy, featuring drummer Scott Matthews (The Piniellas), bass player Aaron Sankin (Dubious Ranger) and guitarist Adam Vernick (Lemuria / Devotion). NAH has two releases, 2016’s Ghosts which NPR’s Jim DeRogatis called “wonderfully dark, hypnotic shoegaze,” and 2017’s Where The Tragic Happens which The Strangers’ Dave Segal described as having “slyly catchy melodies and occasional anthemic flourishes.” As for the future, the band has demoed a number of new songs and will hop into the studio with engineer Barrett Jones in early May. Check them out online at or shoot a note to owen at kexp dot org.


GUEST Directors


A Seattle-based 4-piece band residing in the Venn diagram of shoegaze, dream pop, beautiful noise and power pop. Lyrical darkness, feedback and sparkle. Music created with human voices, instruments, tube amplifiers, mics, effects and the harmonic divergence.




TANGIENTS is a post-punk, ambient “gaze-pop” duo based in Los Angeles. Chelsea Ray’s intense, yet dream-like vocals can pierce as well as float over Be Hussey’s (GUIDES, Radar Bros.) thick wall of sonics, resulting in a noisy, aggressive, ethereal sound. The debut single & video will be out on April 13, 2018.


SGZ4-14Darkswoon brings light and shadow to new sonic territory with a collection of songs from Jana Cushman who has been writing music under this moniker for four years. Her sound could be considered a cross between shoegaze and darkwave, generating a genre imagined by Cushman to be electrohaze. It’s a musical landscape cultivated by the interplay of dynamic guitar and vocals that reflect visceral emotional depth syncopated by stunning textures and driving rhythms. Death, love, dreams and ghosts are consistent lyrical themes that can be felt in the marrow of the music.


Todavia is the Los Angeles based dream-pop project by Rhyan Riesgo. From writing the words to all elements of sound including lead vocals, guitar, electric drums, and keyboards, to creating soulful, dream soundscapes she commands multi- instrumentalism and insists that all lone sounds are purposefully placed. All music is written and produced In a little room just outside Los Angeles, California

Rhyan Riesgo also composes music to moving images. Using loops and swells, she invites listeners to leave the universe through music. For a selection of her film score work, please use the email listed above.

The Moon is Flat


“Front man and guitarist Kirk Rutherford and drummer Thys Ferwerda have been enmeshed in the Everett scene for years. You may not realize it, but they’ve played Fisherman’s Village Music Festival for several years running, both as TMIF and in their previous band, Shark The Herald. Back in 2014, both Shark The Herald and Soniphone Records popped up on SMI’s radar due to the band’s grungy, heady sound and the sheer audacity that anyone would dare to start a label in Everett. Since that time, Rutherford and label owner Ledford’s visions have morphed and expanded in ways that have cemented their place in Everett’s local scene and beyond.” – Christine Mitchell, Seattle Music Insider


Close Encounter


Seattle-based band Close Encounter is chill music for aliens. They use an effectual yet melodic blend of psychedelic, catchy guitar, slow tempo beats, and introspective vocal mood to depict the dawn of a new paranormal age. Since their formation in early 2016, they’ve played the Pacific Northwest and released their debut album First Light in July 2017 on Look Up Records . Close Encounter consists of Bill Darksoft (Guitar/Vocals), Bobby Sydney (Guitar/Vocals), Cameron Lambert (Drums), and Matt Conlen (Bass).




Eggshells is an amalgam of Seattle bands craft psych-tinged indie songs that marry loops, swirling vocals, and soaring guitars.”