The Blue Light of the Other Shore｜이아직 - 피안

Seoul-based musician eeajik (이아직) released a new single today, “피안 (The Other Shore),” following this year’s releases “폐성,” “무명,” “해령,” and “수면.” eeajik has long moved between shoegaze, post-rock, ambient, and experimental electronic music. “피안” was written, composed, sound-produced, mixed, and mastered entirely by eeajik, with guitar contributions from Choi Jiwon (최지원).

The lyrics repeatedly evoke images such as “the destruction of an ancient castle,” “blue light,” “dawn,” and “a faint voice.” The words are brief and cyclical, continuing eeajik’s characteristically abstract mode of expression. Officially categorized as indie rock, the track is still best understood, within the context of his recent work, through the coordinates of shoegaze, post-rock, and soundscape.

eeajik previously contributed to the production, mixing, and mastering of Parannoul’s *After the Magic*. “피안” further reflects his longstanding interest in guitar noise and experimental sound design.

Cold Farewell｜Tears In A Plastic Cup - It’s Me And You

Tears In A Plastic Cup from Palu, Indonesia, have released their second single, “It’s Me And You.” The band was formed not long ago and currently draws primarily from Indie Pop, Dream Pop, and Shoegaze.

The song unfolds through cool-toned guitars, slowly spreading distortion, and hazy vocals, with its emotions centered on farewells and lingering memories after the end of a relationship. Its five-minute runtime leaves ample space for the melodies and noise to gradually build.

Following “Soft Disaster,” Tears In A Plastic Cup’s sonic direction has become increasingly clear: soft, restrained, and carrying the damp texture commonly found in Indonesia’s emerging Shoegaze scene.

Soft Light Diary｜Yumi Jun - a fading diary

Paris-based Yumi Jun releases her debut EP, *a fading diary*, featuring five tracks. Though brief in length, it neatly gathers a series of fragments about disappearance, attachment, and memory.

The EP is a typical example of soft shoegaze: guitar distortion is kept within a gentle range, the vocals remain close to the foreground, and the melodic lines are clear, while ambient and dream pop provide ample space. Rather than relying on a dense wall of sound, the EP builds its emotions through subtle shifts in tone and recurring melodies.

“falling,” “under the weeping willow,” and “as the snow fades my name” together sustain a quiet, damp atmosphere, revealing Yumi Jun’s lighter and more restrained side among the new generation of shoegaze bands.

Ethan Dust｜DEAD END KORRIDOR - Dammkorn Under Fötter

DEAD END KORRIDOR from Bangkok, Thailand, has released “Dammkorn Under Fötter,” a seven-minute new Post-Rock/Shoegaze work. The band consists of several members with architectural backgrounds, and their past work has consistently maintained a connection between literary reading and guitar music.

The piece was inspired by *ฟ้าบ่ก้น (Fa Bo Kan)*, a short-story collection by Khamsing Srinawk, a writer from Thailand’s Isan region. Its Swedish translation is titled *Ett dammkorn under dina fötter*—“A Grain of Dust Beneath Your Feet”—which also explains the song’s rather distinctive Swedish title. Local Thai music media has described it as an experimental musical work with Isan roots.

The instrumental arrangement is the song’s most distinctive element. Beyond distorted guitars and the long-form momentum of Post-Rock, it incorporates traditional instrumental timbres clearly colored by northeastern Thai influences; the plucked strings and reed-pipe sounds evoke the Phin and Khaen. Once these sounds enter the noise layers of Shoegaze, they also set “Dammkorn Under Fötter” apart from the more common American and European shoegaze sound.

Literature, Isan regional culture, and heavy guitar music form a very tangible connection here, making this DEAD END KORRIDOR’s most noteworthy work to date.

Noise in Memory｜Myra Lee - Capture The Flag

Brooklyn trio Myra Lee releases their debut album "Capture The Flag." The band was formerly known as Dino Expedition, with members including Tahlia Amanson, Aiden Velazquez, and McCabe Teems. The new name is taken from Cat Power's 1996 album "Myra Lee."

The work was completed in a basement recording studio in New York's Lower East Side, with all six songs recorded live. Open tunings, gritty fuzz, steadily building drums, and clear vocals preserve the tension of the rehearsal room, while also carrying the loose texture where Shoegaze meets 90s indie rock.

Songs like "Magpie" and "Ten" delve into family relationships, identity, sexuality, addiction, and memory. The sound is not overly polished, and the instability in emotion and performance is left fully intact, forming the most direct part of this album.