Shoegaze – 7th Level Music

A Shoreline Dream celebrates their 20th anniversary with a new single – “Legacy.”

Twenty years after forming, A Shoreline Dream enters its anniversary year with ‘Legacy’, the new single released via Latenight Weeknight Records, which finds the band reflecting on the time, choices, and sacrifices behind one of Colorado’s longest-running independent music projects.

A sludging, bass pumping song that explodes with a huge chorus of cascading guitars and vocals that match that reflection, its shoegaze chant reflects on all the time that has passed. Here, “Legacy, your legacy instead of it” lyrically reflecting the thoughts that which has been sacrificed – so many of the normal everyday life milestones – to instead fine tune the nearly 120 tracks the band has now released throughout their history. A tragic yet rewarding legacy to leave behind.

Formed in 2005 and based in Barnum, Colorado, A Shoreline Dream is a duo of multi-instrumentalist and vocalist Ryan Policky and guitarist Erik Jeffries. For just over two decades, Policky and Jeffries have built a catalog approaching 120 released tracks while developing a sound rooted in shoegaze, psychedelia, post-punk, and expansive guitar-driven experimentation.

Approaching the 20th anniversary of their debut album ‘Avoiding the Consequences’, they look at that history from a deeply personal perspective. Years spent writing, recording, producing, and refining A Shoreline Dream’s music have often meant choosing the demands of the creative process over many of the conventional milestones of everyday life. The song considers what remains when so much of a life has been devoted to making music, and whether the work itself ultimately becomes the legacy.

The release comes during one of the band’s most prolific periods. Rather than treating 2026 as a year of reflection, A Shoreline Dream committed to releasing singles every month, while developing new material towards ‘Waiting’, the band’s second full-length album of 2026, which will include nine tracks.

Their current creative roll follows a significant period of collaboration with Ridefrontman Mark Gardener. Through A Shoreline Dream’s partnership with Shameless Promotion PR, Policky and Gardener connected for a series of recordings that resulted in five co-produced and performed songs, the most recent of these appearing on the album‘To Where They Have Gone’, released in February.

That relationship is part of A Shoreline Dream’s love affair with the UK music community. The band has worked extensively with Ulrich Schnauss and has also collaborated with members of Engineers, Chapterhouse, Rocket Girl Records, and mastering engineer Mark Kramer (Urge Overkill, Bongwater, Shimmy Records).

“2026 has been the year of true sonic inspiration, and the first time I’ve found myself in a constant music writing mode. After working with Mark Gardener, my mind has been humming melodies to me daily,” says Ryan Policky.

That renewed creative momentum has also been shaped by the world outside the studio. The response has been to make music that provides an alternative to that noise: music that is melodic, heavy, expansive, and immersive.

“It’s been a brutal human climate, and the distractions are so overwhelming in the media / toxic social media world. I’m f’ing over it. I just want explosive and melodic tunes to distract from this insane world, and these songs are exactly that,” says Ryan Policky.

“The tales of dealing with a world in chaos I hope resonate with all those out there looking for new musical vibes and explosive soundscapes. We have come back to the original feeling of A Shoreline Dream creating melodipsych shoegaze to celebrate this massively long journey.”

‘Legacy’ arrives not as a retrospective statement, but as a marker of where A Shoreline Dream stands now. Policky and Jeffries have maintained their creative partnership through changing musical landscapes and an evolving industry. Their response to reaching the 20-year milestone has been to keep creating at an increasingly intense pace.

The result is a band looking back without standing still. ‘Legacy’ acknowledges the cost of the journey while ‘Waiting’ and the continuing 2026 release campaign point firmly toward what comes next.

‘Legacy’ is now available fromdigital music platforms, including Spotify,Apple Music and Bandcamp. The band’s second album of 2026, ‘Waiting’, will be released on October 16th.

Keep your mind open.

[I dream of you subscribing.]

[Thanks to Shauna at Shameless Promotion PR.]

Rewind Review: Black Moon Mother – Illusions Under the Sun (2020)

I found Black Moon Mother‘s 2020 album, Illusions Under the Sun, at a Chicago wrecka stow where it was described as a mix of doom metal and shoegaze (doomgaze). I listened to ten seconds of one track and was sold.

Beginning with “Lost in the Maze,” lead singer Brianne O’Neill‘s voice sounds like a ghost calling to you from the other side of a foggy lake while Mikey Owen and Corey Taylor‘s guitars seem to summon more ghosts from under the lake. “Around the Finger” feels like a song about loss and how it lingers with you (“Forever the weight. Inside, you know it stings.”). Jason Gilmore‘s bass riffs have an unexpected groove to them that inspired metal-loving head nods.

“High Winds” has appropriately soaring guitar work from Owen and Taylor while O’Neill’s voice drifts and glides over and through an ancient forest as she reminds us of the power of the world around us. “Slow Down” is a similar theme, with O’Neill encouraging us to touch grass (as the kids used to say) and remember our connection to everything around us.

The powerful “Radiant Sun” features not only Jeff Ehlinger‘s hardest drumming, but also O’Neill’s strongest warning about how apologies to Mother Earth will be too little, too late when she finally decides to set things right (“Creation is blood, soil is mud, we knew not of your worth.”).

The album ends with the instrumental, almost ambient “Afterglow.” It’s a neat way to wrap up a record of heavy riffs and ethereal vocals, showing that Black Moon Mother can create multiple soundscapes and moods. They’ve become one of my favorite discoveries this year.

Keep your mind open.

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You’ll have a “Crush” on Growing Pains’ new single.

Last month, Portland’s Growing Pains announced their new LP Daniel Loves Mandy Forever, which will be released on their new label home Photo Finish on October 9th. Composed of Jack Havrilla, Kyle Kraft, Kalia Storer and Carl Taylor — the band have become one of the most buzzed about acts in the Pacific Northwest over the past year or so, after sharing stages with bands like MX Lonely, Alien Boy, Been Stellar, Water From Your Eyes, Beabadoobee and Dutch Interior.

Their new album, which was produced by Nathan Tucker of Strange Ranger, is an ambitious record made up of songs about desire so all-consuming that it warps the world around it. The compositional scale of these songs matches their emotional intensity. Across Daniel Loves Mandy Forever, Taylor and Havrilla’s guitar lines nod to the intricacy of midwest emo before erupting into clouds of fuzzy power chords, while Kraft plays with the crash-heavy maximalism of an arena-rock drummer. Storer’s voice is a hazy, dreamlike presence, her relative calm amid the turbulence building a gently surreal atmosphere.

The band’s influences aren’t buried here—the immediacy of Joyce Manor, the enormity of My Bloody Valentine, the scrappy melodicism of Pacific Northwest indie rock—and their non-musical inspirations are fittingly grand and varied. Early single “Swimming” draws images from a trip to an art museum that Storer and Taylor took together, where they saw a biblical depiction of Jacob wrestling with an angel, where “Drive” includes layered references to Bruce Springsteen and Roy Orbison.

Today, the band are sharing a new single entitled “Crush,” which was inspired by David Lynch’s Mulholland Drive.

Taylor says of the single:

This song is about trying, but failing to comprehend the nature of desire with language. How do you articulate the failure of language? This song tries to examine this space–a breakthrough of romantic desire creating delirium in the subject.

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]

Tokyo Tea Room’s new single feels and sounds like it’s “Always in the Sun.”

Margate, UK’s Tokyo Tea Room release “Always In The Sun,” the third single from their new album, Feel Forever, out September 18th via Nice Guys. Following the “slinky, funky” (Brooklyn Vegan) “All Night,” “Always In The Sun” has future live favorite written all over it, evoking Random Access Memories-era Daft Punk with its fluid funk guitar, swaggering bass and shimmering synths. Vocalist Beth Dunn sings about a love so intense and radiant that it completely transforms her life. Almost utopian in spirit, “Always In The Sun” captures all of love’s joys.

Listen to Tokyo Tea Room’s “Always In The Sun”

Tokyo Tea Room— Dunn, Daniel James Elliott, Ben Marshall, Sam Teather, and Sam Ewens—is a timeless project whose message transcends the music itself. The band arouses passions and emotions, taking listeners on a journey within a tender, comforting bubble. Their debut album, No Rush, established them as one of the most compelling emerging acts in alternative music, resonating with a growing global audience. With millions of monthly listeners and a sold-out debut North American tour, the band are rapidly building momentum, particularly in the US, where their audience continues to expand. With Feel Forever, Tokyo Tea Room are entering a defining new chapter, evolving their sound while staying rooted in the emotional depth that defines their work.

Feel Forever was written and produced by Elliott with co-production by Kristofer Harris, marking the first time Elliot worked with a producer. Of the recording process, Elliot says, “We took a yacht rock approach to the recording, taking our time to smooth all the edges and make something that felt more polished than the last record. Both of us spent hours obsessing over the smallest detail, which felt very apt for this album. The result is something that we are all very proud of, it’s a different kind of Tokyo Tea Room that has come out the other side of it, but it feels right and I hope people enjoy listening.”

Tokyo Tea Room will return to North America this fall touring in support of forthcoming new music. A full list of dates are below and tickets are on sale now here.

Pre-Order Feel Forever

Stream/Watch:
“Always In The Sun”
“All Night”
“Eyes Off You”

Tokyo Tea Room Tour Dates:
Thu. Sep 24 – Vancouver – Hollywood Theatre
Sat. Sep 26 – Seattle WA – Neumos
Mon. Sep 28 – San Francisco CA – Bimbo’s 365 Club
Wed. Sep 30 – Los Angeles CA – Teragram Ballroom (SOLD OUT)
Thu. Oct. 1 – Los Angeles, CA @ Teragram Ballroom
Fri. Oct 2 – San Diego CA – Quartyard
Sat. Oct 3 – Tucson AZ – Club Congress
Mon. Oct 5 – Austin TX – 29th St. Ballroom
Tue. Oct 6 – Houston TX – White Oak Music Hall
Wed. Oct 7 – Dallas TX – Club Dada (indoors)
Fri. Oct 9 – Atlanta GA – Terminal West
Sat. Oct 10 – Durham NC – Motorco Music Hall
Sun. Oct 11 – Washington DC – The Atlantis
Tue. Oct 13 – Brooklyn NY – Music Hall of Williamsburg
Wed. Oct 14 – New York NY – Bowery Ballroom
Thu. Oct 15 – Boston MA – The Sinclair
Fri. Oct 16 – Montreal QB – Bar le Ritz
Sat. Oct 17 – Toronto ON – Mod Club
Mon. Oct 19 – Chicago IL – Lincoln Hall
Sat. Oct. 31 – Amsterdam, NL @ London Calling Festival
Sun. Nov. 1 – Hamburg, DE @ Nochtwache
Mon. Nov. 2 – Berlin, DE @ Mikropol
Wed. Nov. 4 – Cologne, DE @ Yard Club
Thu. Nov. 5 – Paris, FR @ Bellevilloise
Thu. Nov. 19 – Brighton, UK @ Dust
Fri. Nov. 20 – Southampton, UK @ The Joiners
Sat. Nov. 21 – Bristol, UK @ Exchange
Sun. Nov. 22 – Manchester, UK @ YES (Pink Room)
Tue. Nov. 24 – Glasgow, UK @ Mono
Wed. Nov. 25 – Leeds, UK @ Hyde Park Book Club
Thu. Nov. 26 – Nottingham, UK @ Bodega
Wed. Dec. 2 – London, UK @ The Garage

Keep your mind open.

[I’ll feel like I’m always in the sun if you subscribe.]

[Thanks to Patrick at Pitch Perfect PR.]

Dummy achieve “Full Spectrum Dominance” with their new single.

Dummy—the Los Angeles-based band of Alex Ewell, Emma Maatman, Nathan O’Dell, Joe Trainor, and Lance Umble—announce the new album, do you love the color of the sky?, out October 16th via Polyvinyl, with lead single/video “Full Spectrum Dominance” and a fall North American tour. With do you love the color of the sky? Dummy crafts the perfect anti-zeitgeist record, freezing you into their incorporeal moment of time, freed from the rat race and trendiness, embracing insularity to the point that it somehow becomes the future.

If 2024’s Free Energy (and its subsequent remix album, Bubbelibrium DLC) evoked the spirit of Madchester and the optimism of the rave, then do you love the color of the sky? couches itself in a lyrical skepticism that recalls the best of post-rock and drone—think Seefeel, Windy and Carl, Laika, or Disco Inferno—while playfully adorned in jubilant pop hues of early Björk, The Sundays, and Madonna’s Ray of Light.

do you love the color of the sky? is Dummy’s most politically trenchant record, and yet their most inviting. Breakbeats and the captivating voice of keyboardist Emma belie a sleight hand—as the listener becomes enveloped by Dummy’s unshakable grooves, they’ve subconsciously accrued a vision of a new radical politic. Lead single “Full Spectrum Dominance,” for example, comments on A.I. and the devaluation of art. Guitarist Joe comments, “ I was trying to make something just heavier, and we joked it was our nu metal song, during the recording we added the tambourine that gives it a more dancey vibe, Deee- Lite meets Deftones.”

Emma adds, “This is the Technofeudalism bop. Tech billionaires are treating AI like the new Alchemy, using it as a source of power and magic. This supposedly soon-to-be all-powerful technology could not exist without harvesting all of humanity’s intellectual property and collective work. ‘Prima Materia’ is the building block of all alchemical matter, so in the canon of the song, we humans are the Prima Materia.”

The accompanying video directed and animated by Matt Wells (POST MAN) is an experimental montage of 3D animation, found imagery, and motion graphics exploring AI as a modern form of alchemy. Wells drew on the fears and frustrations surrounding the rise of A.I. and its hostile attempt to erode the human experience. Aesthetically, the video is inspired by everything from late 90’s UK music videos and cyberpunk films to early CGI demonstration.

Watch the Video for “Full Spectrum Dominance”

Despite all the allusions to futurism, Dummy are a classic band. Not in the retrofetishist, nostalgia- trapping sense, but in their work ethic and commitment to the music. As Joe recalls of their time since the release of Free Energy, “We toured a lot, around 150 days, and played approximately 113 shows,” with numerous treks around the US and two trips to Europe, “…and on larger stages than ever before,” Alex adds. “Touring has had a huge impact on us and our music.” That is a staggering amount of touring and roadtripping, a feat that can only be achieved if you truly believe in your art and the power of music itself. It stands to reason, then, that their latest release has also completely shucked the idea of being recreated cleanly in the live setting.

“Making music shouldn’t be fun.” It’s a haughty claim, but when Dummy jokingly asserts this, it comes from a sentiment of earnestness and true love for the game. The blood, sweat, and tears of ‘putting in the work’ is what propels do you love the color of the sky? to a triumph—a byproduct of shedding skins through live performance. It’s not a vast departure from their discography, unmistakably them, and yet constitutes a creative leap forward which almost sounds effortless from the group. It’s a treat to witness a band this creatively in-tune with themselves, whose experiments and ideas always hit, who, when they describe a concept, actually stick the landing. Maybe the future of music comes with the type of deep self-actualization Dummy possesses.

Pre-order do you love the color of the sky?

do you love the color of the sky? Tracklist:
1. April Limousine
2. Alluvial Fan
3. Full Spectrum Dominance
4. Squeaky Wheel
5. Touch the Perfect Speed
6. Song of Mana
7. Omen Globe
8. C.B.B.S.I.M.M.P.W.M.
9. N of 1
10. Heaven’s What You Make of It

Dummy Tour Dates:
Tue. Oct. 13 – Fresno, CA @ Tower Lounge *
Wed. Oct. 14 – San Francisco, CA @ The Chapel *
Thu. Oct. 15 – Sacramento, CA @ Café Colonial *
Fri. Oct. 16 – Reno, NV @ Holland Project *
Sat. Oct. 17 – Arcata, CA @ Miniplex w/ Dilies
Tue. Oct. 20 – Portland, OR @ Mississippi Studios *
Thu. Oct. 22 – Vancouver, BC @ The Wise *
Fri. Oct. 23 – Seattle, WA @ Tractor Tavern *
Sat. Oct. 24 – Boise, ID @ Neurolux *
Mon. Oct. 26 – Salt Lake City, UT @ International Bar *
Tue. Oct. 27 – Denver, CO @ Hi-Dive *
Wed. Nov. 4 – Los Angeles, CA @ Sid The Cat Ballroom

* = w/ Golomb

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Cor de Lux release “The Cringe” ahead of their debut album and upcoming tour.

Cor de Lux, who recently announced their signing to Ipecac Recordings, release their label debut, Year Of The Horse, on Sept. 18.

A preview of the nine-song album arrives today with “The Cringe” and its accompanying video (https://youtu.be/GL1308BBhKI). The snarling single charges forward at full blast before veering into an atmospheric passage where the intertwined guitars of Dawn Moraga and Tim Lusk drift into haunting territory.

Moraga says of the track: “Living in a developing country really engraved in my heart about knowing what is important and what is not,” referencing her time abroad in Nicaragua. “Materialism fades like bad jeans. The exploitation of the poor to make the rich richer makes my blood boil.”

Bass player John Bliven adds: “’The Cringe’ explains our disdain of the billionaire ‘elite’ and the system that keeps them rapidly gaining. ‘I make a dollar a day’ refers to CEOs giving themselves a tiny salary while obtaining massive share value. Those shares aren’t taxed unless sold, and even then, that tax rate is less than the income tax everyone else pays.”

Produced by J. Robbins (War on Women, Mary Timony), Year Of The Horse captures Cor de Lux’s competing impulses: abrasion and melody. Atmosphere and momentum, chaos and control. Across nine songs, the Kill Devil Hills quartet balances post-hardcore urgency, shoegaze bliss, and guitar-driven catharsis. Recorded with Robbins, the album preserves the raw chemistry that defines the band while pushing their songwriting into sharper, more immediate territory.

Year Of The Horse is available for pre-order now with the album available on multiple limited vinyl variants (including a hyper-limited Bandcamp exclusive swirl vinyl and Ipecac/Cor de Lux orange effect vinyl), standard black vinyl, cassette, CD, and digitally: https://cordelux.lnk.to/horse.

The band ventures out on a brief tour this Fall, joining SLIFT for a handful of dates:

October 7 Philadelphia, PA Ortlieb’s

October 8 Brooklyn, NY The Broadway

October 10 Toronto, ON Lee’s Palace *

October 11 Detroit, MI El Club *

October 13 Chicago, IL Outset *

October 14 St. Paul, MN Turf Club *

October 15 Davenport, IA Racoon Motel

*-w/SLIFT

Keep your mind open.

[Don’t cringe at subscribing.]

[Thanks to Monica at Speakeasy PR.]

Deux Visages release “Always You” ahead of summer tour.

Just off the heels of their soaring single “Always You”, burgeoning trio Deux Visages has announced a direct support slot on Sweet Pill‘s upcoming Summer run in addition to joining The Linda Lindas as special guests on the East Coast in October. The dates cover Los Angeles, New York City, Texas, the Pacific Northwest and more. See below for a full list of dates, and find more info on tickets here.

Deux Visages is vocalist Daphney Hanono, guitarist Jack Chiu and bassist Tony Jouvin. Their emergence has been a whirlwind. Founded over a thread of DMs in high school, they were hastily signed to Atlantic Records after word of their rampant and immersive live shows hit. Fast-forward >> a series of singles, an EP, support tours with Mannequin P*ssy, julie and Wunderhorse, plus an uproot from Miami to Philadelphia >> the three have now perfected their chemistry and eclectic, earnest dream-pop rock that is singularly Deux Visages.

Last month they announced their signing to Pure Noise Records alongside their sentimental, infectious track “Always You”. Frontwoman Daphney Hanono enthuses “’Always You’ is the song that we always wanted to write. It’s about being a fly on the wall and watching over someone you love. It’s about longing, uncertainty, and fear. Essentially, a song that’s written to be a cry for someone that won’t hear.”

“Always You” taps into Deux Visages’ visceral experience of grieving your childhood – and the duality of trying to hold onto it while also tearing yourself away from it. It’s the first preview into their debut studio album which is due Fall 2026.

Watch / Share / Playlist “Always You”

Deux Visages Live Dates:

Aug 17: Dallas, TX – AM/FM *
Aug 19: Houston, TX – White Oak Music Hall *
Aug 21: Austin, TX – Mohawk *
Aug 22: San Antonio, TX – Paper Tiger *
Aug 25: Mesa, AZ – The Nile *
Aug 27: Los Angeles, CA – El Rey Theatre *
Aug 28: San Francisco, CA – August Hall *
Aug 30: Portland, OR – Hawthorne Theatre *
Aug 31: Seattle, WA – Neumos *
Sep 03: Denver, CO – The Oriental Theater *
Sep 05: Omaha, NE – The Slowdown *
Oct 02: Pittsburgh, PA – Mr. Smalls Theatre ~
Oct 04: Philadelphia, PA – Theatre of Living Arts ~
Oct 06: Boston, MA – Paradise Rock Club ~
Oct 07: New Haven, CT – Toad’s Place ~
Oct 08: Brooklyn, NY – Brooklyn Steel ~

* w/ Sweet Pill
~ w/ The Linda Lindas

Keep your mind open.

[I’m always hoping you’ll subscribe.]

[Thanks to Bailey at Another Side.]

No Joy shares new single, “Barking at the Sun,” from their upcoming EP.

Last month, No Joy announced a new EP entitled Big Life, Big Leaf (out August 21st via Hand Drawn Dracula). The EP is the follow up to the widely beloved 5th LP from Jasamine White-Gluz long-running project, 2025’s Bugland, which like the new EP was co-produced by the heralded Chicago experimental artist Fire-Toolz. That album earned a Best New Music designation from Pitchfork, who called it “a perfect album for our current shoecraze…Bugland is full of more textures, more ambiance, more chunky ’90s guitar. It crushes like a giant box of Gushers,” with further praise coming fromBandcamp, FADER, Stereogum, BrooklynVegan, AV Club, Hearing Things, FLOOD, and Exclaim. and wasalso recently nominated for the Polaris Prize.

The new EP was announced with its title track, which was co-written with Japanese Breakfast and Sky Ferreira producer Jorge Elbrecht. Today, No Joy are sharing a second single from the EP called “Barking At The Sun.” that blends dreamy shoegaze with ferocious blast beats and scratching from DJ Diego Juarez..

White-Gluz says of the track:

This song is driving through empty corn fields with the windows down on the first warm days of spring. During the last solar eclipse, I drove my car to the fields and watched the sun disappear and reappear, feeling like it was both the beginning and the end of the world.

This was the first song Angel & I worked on after Bugland. The song grew out of a very old demo where I played around with Drop C guitar tunings. With this opening guitar riff, I collaged bits and pieces of other demos together to make a patchwork of a song. Angel then took that into her world and made it more technicolor.

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]

Review: Lowsunday – Low Sunday Ghost Machine – Black EP

Following up on their White EP, Lowsunday have continued their return of fine industrial shoegaze with the Low Sunday Ghost Machine – Black EP.

“You’re So Wired” (a song about the confusing state between dreaming and waking) opens the dark gates with heavy reverb vocals, fuzzy yet bold guitars, and snappy drum beats to either snap you out of your brain fog or plunge you back into it, depending on which you choose.

The bouncy, yet warped guitars on “Shattered” are fascinating. It’s prime shoegaze stuff with Shane Sahene‘s vocals echoing everywhere to the point where you’re never sure if he’s singing or just making vocal sounds. It’s good either way. “Someone to Talk to” continues the strange, jangly guitar work by Sahene and Bobby Spell‘s bass creepily crawls all around you.

“This Is Not Heaven” is a goth track you heard in a dream once after you spent the night with some cool people you met at a club who gave you a ride to an all-night diner in the middle of nowhere in their car that smelled like clove cigarettes and jasmine. It’s a song that would give A Place to Bury Strangers a run for their money.

The EP ends with “Don’t Want to Dream Again” and some of Spell’s best bass work on the record. Seriously, that groove is outstanding.

Lowsunday’s Black EP helps you find presence with its fuzzy hooks and dreamy vocals. Good shoegaze is always a treat, so don’t skip this.

Keep your mind open.

[I’ll feel wired if you subscribe.]

[Thanks to Shauna at Shameless Promotion PR.]

Billy Azurdia releases a dreamy new single – “Solamente En Mis Sueños.”

South Bay based singer-songwriter Billy Azurdia is releasing “Solamente En Mis Sueños,” on July 7, 2026. The genre bending single will be the 3rd and final release before his upcoming full length album. A danceable and ambitious departure from the straight forward tenderness of “Contigo,” “Solamente En Mis Sueños” showcases
Azurdia’s confident versatility, blending city pop, folk and shoegaze.

Azurdia delivers a distinct 3-act anthem that begins on a sparkling dance floor, followed by a chromatic build that releases into a massive, distorted crescendo. The lyric and emotional component describe a chance meeting, that while beautiful, leaves one with a heart full of longing and bittersweetness. The finale explodes with fuzzy guitars, and dreamy synths, as Azurdia belts “Dejame aquí, puedo verte sonreir” (“Leave me here, I can see you smile”).

Billy Azurdia has been writing, producing and releasing music from his solo projects and as a contributing member of multiple Los Angeles projects, including Mind Monogram and Jane Astronaut, since 2011. His most recent work is an arrival as an indie folk writer, blending earthy grit and shimmering whimsy.

“Solamente En Mis Sueños was an opportunity for me to explore unconventional structure, danceable rhythms and blending it with the singer-songwriter styled indie folk that I’ve been producing these days. I’ve had the desire to explore city pop for a long time and I love songs that don’t ever return to a previous section, like (The Beatles) Day In The Life. I ended up with something I’m really excited about.”

“Solamente En Mis Sueños” will be on streaming platforms July 7th 2026.

Keep your mind open.

[I dream of you subscribing.]

[Thanks to Billy Azurdia!]