New book by Simon Reynolds, all shoegazing is melancholy.

Simon Reynolds, the British music critic and author, has released his latest book titled Still in a Dream, which explores the evolution of shoegaze, slacker, and dreampop genres from 1984 to 1994. The work, published by White Rabbit in London in 2026, draws its title from a track by the influential shoegaze band My Bloody Valentine, whose song "(When You Wake) You’re Still in a Dream" became emblematic of the genre’s ethereal sound. The book is set to appear in a German translation later this year through the Ventil-Verlag in Mainz. The narrative begins in 1984, often referred to as Orwell's year with the publication of his dystopian novel 1984. During this time, pop music was dominated by acts such as Wham!, Depeche Mode, and Prince, while films like Ghostbusters achieved massive box office success. The cultural landscape saw the rise of synth-pop and electronic music, driven by advancements in MIDI technology and drum computers. These innovations allowed musicians to create complex sounds using electronic instruments, marking a shift away from traditional rock instrumentation. Music unions were critical of these developments, as they threatened the livelihoods of many studio technicians. Reynolds frames the period as one where rock music had become associated with older generations, distancing itself from the raw energy of punk and post-punk. In contrast, new wave and synth-driven music gained popularity, with artists like Kim Gordon of Sonic Youth performing in venues such as West Berlin. This era also witnessed the emergence of modern pop acts, including Modern Talking, whose hit "You're My Heart, You're My Soul" became a staple of West German radio. The song, crafted by former East German political activist Dieter Bohlen, exemplified the blend of catchy melodies and emotional depth that defined the decade's pop scene. Meanwhile, in the United States, hip-hop and acid house began to take root, with early tracks produced using minimal equipment. These genres quickly gained traction, challenging the dominance of rock music and signaling a broader cultural shift towards dance-oriented sounds. Reynolds notes how this movement represented a deliberate departure from the traditions of rock, offering alternative forms of musical expression that resonated with younger audiences. At the heart of Reynolds' exploration are the bands associated with the independent label 4AD, particularly the Scottish group Cocteau Twins, whose dreamy and atmospheric compositions have endured into the present day. Their album Heaven or Las Vegas is cited as essential listening, reflecting the mood and sonic textures that define the shoegaze aesthetic. Other key figures include the American band Pixies and the pioneering act Sonic Youth, both of whom helped shape the underground rock scene during the late 1980s. As a contributing editor for the UK magazine Melody Maker from 1986 to 1990, Reynolds conducted extensive interviews with leading bands of the era, providing insight into their creative processes and artistic visions. His collection of quotes and observations adds depth to the narrative, making the book a valuable resource for fans and scholars alike. The final chapter of the book coincides with 1994, the year that saw the tragic death of Kurt Cobain, frontman of Nirvana, marking the end of an era for alternative rock. Reynolds suggests that the legacy of shoegaze and slacker movements laid the groundwork for the grunge and alternative scenes that would emerge in the following years.