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To be considered Britpop , for example, a record had to be guitar-based, from the UK, and released during a certain period. The term has meant different things to different audiences at different times, because it was always more of a descriptor than a proper genre. So in assembling this list, we took the descriptive quality of the term and ran with it, assembling a list of 30 records that felt like they belonged together even as they came from different scenes, eras, and geographic locations.
Despite the wide range of music here, there are certain qualities that unite these records: atmosphere, intimacy, a light coating of psychedelia, and, yes, dreaminess. In some cases, we defined what belongs here by thinking about what the music is not. We made a conscious decision to not include records that wound up on our Best Shoegaze Albums list—even though shoegaze and dream pop have, at times, been used interchangeably—and we avoided the more twee end of the indie pop spectrum.
Galaxie were called a lot of things. Shoegaze bands are more of an assault, a wall of sound, while there is more empty space in dream pop—allowing more room for melody and counter-melody, whether on vocals, keyboards, or guitars. In the summer of , Damon and Naomi and I started jamming together as Galaxie , and I moved to Cambridge, Massachusetts, where they were enrolled in graduate school.
In Boston, all the bands sounded heavier than us; there were hardcore bands, and others playing a mix of metal and punk that was not yet called grunge. They probably knew what they were doing, while we were making it up as we went along. That fall, we played some nervous local gigs, and in February, with a half-dozen half-written songs, we drove down to New York to record with producer Mark Kramer at his studio in Tribeca.
