Pitchfork: 30 Best Dream Pop Albums
by 
teague 
https://pitchfork.com/features/lists-and-guides/the-30-best-dream-pop-albums/
- Chart updated: 09/04/2021 21:15
- (Created: 09/04/2021 21:06).
- Chart size: 30 albums.
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Heaven or Las Vegas. You’re either in the good place or a gaudy replica designed to trick you. Sweet relief or a desert mirage. It sounds like a trap, doesn’t it? That’s kind of what the record was for Cocteau Twins, too. Six albums in, the gothy cult heroes of 4AD Records gave in completely to the pop urges they had flirted with on 1988’s Blue Bell Knoll and 1984’s Treasure. Happily, the resulting masterpiece not only defined the Scottish trio for good, it established an ethereal blueprint for dream pop. While there are countless examples of indie bands struggling to marry their deep weirdness to pop structures, the Cocteaus’ version of a slightly more commercial sound did not compromise their individual idiosyncrasies. Rather, it distilled them into something painfully gorgeous and utterly mesmerizing.
Elizabeth Fraser, Robin Guthrie, and Simon Raymonde were each going through heavy periods when they wrote and recorded Heaven or Las Vegas at their own September Sound Studios in London. Raymonde, the keyboard player and bassist, had just lost his father, composer Ivor Raymonde. Guthrie, the guitarist and drum programmer, was at the height of his cocaine addiction, and his partner, vocalist Fraser, was a new mother keeping things together. Fraser had been known for her impressionistic approach to melody, focusing more on the sounds of the words and effortlessly bending them into evocative gibberish with her piercing soprano. On Heaven or Las Vegas, though, you can actually tell that she is singing about her relationship and her daughter, still in an oblique and conflicted way but still with a newfound confidence she attributed to her pregnancy. At the time, dream pop was one of the few rock subgenres where overt femininity was not only tolerated, it was necessary. Fraser had already redefined how operatic vocals, glossolalia, and a vaguely new age aesthetic fit into the ’80s alternative world, but here she was being newly direct with declarations of motherly love—building hooks out of them, in fact, like on the effortlessly cool dance track “Pitch the Baby.” Arranging her peerless voice into more elaborate layers and flows, Fraser centered herself at the forefront of a band now pushing the limits of lushness.
The crucial counterpoint to Fraser’s voice can be found in Guthrie’s elaborate, effects-laden guitar loops, which sent reverb through the songs like an industrial fan whipping air around a warehouse. As a guitarist, Guthrie is to dream pop what Kevin Shields is to shoegaze. But by adopting a dazed, dreamy slide technique on songs like “Cherry-Coloured Funk,” one of the best scene-setting opening tracks ever, Guthrie cemented another aspect of his signature guitar jangle; it’s a tone you can hear traces of in everyone from Lush’s Miki Berenyi to the xx’s Romy Madley Croft to the Weeknd (quite literally). With Guthrie providing the blissful wave of noise, Raymonde adding the crucial ominous undertone, and Fraser tending to the otherworldly drama, the band reached the heights of their mood-setting abilities while still keeping most of the songs around three minutes. Not that you'd necessarily notice the song lengths: Heaven or Las Vegas is less a collection of tracks than a 37-minute journey to a surreal realm. You don’t know where you are, exactly; you just notice the warm feeling that washes over you when you arrive. Heaven, after all, is subjective. –Jillian Mapes
Elizabeth Fraser, Robin Guthrie, and Simon Raymonde were each going through heavy periods when they wrote and recorded Heaven or Las Vegas at their own September Sound Studios in London. Raymonde, the keyboard player and bassist, had just lost his father, composer Ivor Raymonde. Guthrie, the guitarist and drum programmer, was at the height of his cocaine addiction, and his partner, vocalist Fraser, was a new mother keeping things together. Fraser had been known for her impressionistic approach to melody, focusing more on the sounds of the words and effortlessly bending them into evocative gibberish with her piercing soprano. On Heaven or Las Vegas, though, you can actually tell that she is singing about her relationship and her daughter, still in an oblique and conflicted way but still with a newfound confidence she attributed to her pregnancy. At the time, dream pop was one of the few rock subgenres where overt femininity was not only tolerated, it was necessary. Fraser had already redefined how operatic vocals, glossolalia, and a vaguely new age aesthetic fit into the ’80s alternative world, but here she was being newly direct with declarations of motherly love—building hooks out of them, in fact, like on the effortlessly cool dance track “Pitch the Baby.” Arranging her peerless voice into more elaborate layers and flows, Fraser centered herself at the forefront of a band now pushing the limits of lushness.
The crucial counterpoint to Fraser’s voice can be found in Guthrie’s elaborate, effects-laden guitar loops, which sent reverb through the songs like an industrial fan whipping air around a warehouse. As a guitarist, Guthrie is to dream pop what Kevin Shields is to shoegaze. But by adopting a dazed, dreamy slide technique on songs like “Cherry-Coloured Funk,” one of the best scene-setting opening tracks ever, Guthrie cemented another aspect of his signature guitar jangle; it’s a tone you can hear traces of in everyone from Lush’s Miki Berenyi to the xx’s Romy Madley Croft to the Weeknd (quite literally). With Guthrie providing the blissful wave of noise, Raymonde adding the crucial ominous undertone, and Fraser tending to the otherworldly drama, the band reached the heights of their mood-setting abilities while still keeping most of the songs around three minutes. Not that you'd necessarily notice the song lengths: Heaven or Las Vegas is less a collection of tracks than a 37-minute journey to a surreal realm. You don’t know where you are, exactly; you just notice the warm feeling that washes over you when you arrive. Heaven, after all, is subjective. –Jillian Mapes
Year of Release:
1990
Appears in:
Rank Score:
9,790
Rank in 1990:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
53
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You didn’t need to be especially cool to be up on Mazzy Star’s second album, thanks to the unexpected breakaway success of “Fade Into You.” One of the greatest slow-dance songs ever recorded, it’s easy to see why it took on a mainstream life of its own despite its uncanny bent (“I wanna hold the hand inside you”) that made it feel like a Lynchian waltz, barely swaying, eyes fixed on nothing. But really, you came to hear Hope Sandoval, husky-voiced East L.A. priestess, shaking a tambourine without passion. So Tonight That I Might See, a secret blues album obfuscated in fuzz and fog, entered the canon of the California Gothic—a vision of the place that felt like a nap you might never wake up from.
“Fade Into You” isn’t necessarily the album’s high point, though. There is “Mary of Silence,” with its strung-out organ drone and resigned cymbal clatters, Sandoval channeling Jim Morrison. Or “Five String Serenade,” a devastatingly simple acoustic Arthur Lee cover, in which her voice is joined by soft, sad violins. “Wasted” is blues at a narcoleptic crawl, as fucked-sounding as the title suggests. There’s something unknowable to all of it. And yet it’s one of those albums where it’s imperative you look up each song on YouTube and get punched in the gut by the humanity in the comments below. One, beneath “Blue Light,” goes: “In 1998, I had the best thing. A beautiful Angel that sang this to me. She’s gone.” –Meaghan Garvey
“Fade Into You” isn’t necessarily the album’s high point, though. There is “Mary of Silence,” with its strung-out organ drone and resigned cymbal clatters, Sandoval channeling Jim Morrison. Or “Five String Serenade,” a devastatingly simple acoustic Arthur Lee cover, in which her voice is joined by soft, sad violins. “Wasted” is blues at a narcoleptic crawl, as fucked-sounding as the title suggests. There’s something unknowable to all of it. And yet it’s one of those albums where it’s imperative you look up each song on YouTube and get punched in the gut by the humanity in the comments below. One, beneath “Blue Light,” goes: “In 1998, I had the best thing. A beautiful Angel that sang this to me. She’s gone.” –Meaghan Garvey
Year of Release:
1993
Appears in:
Rank Score:
2,332
Rank in 1993:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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The Baltimore duo of Victoria Legrand and Alex Scally had established themselves as effortlessly sublime dream-pop adepts by the time of their third album, but they hadn’t yet embraced the production values that might convince people who weren’t reading mp3 blogs. Teen Dream, Beach House’s Sub Pop debut, was the sound of a band going for broke at that exciting moment before they know what they’re really capable of achieving. Recording in a converted church with producer/engineer Chris Coady, whose credits span Amen Dunes to Yeah Yeah Yeahs, the pair demonstrated a rare balance of preaching to the choir and pulling in new converts. The spidery guitar lines, dimly lit organ tones, and sparse drum machines remain. But there’s also much more attempted: crystalline Fleetwood Mac–style harmonies, shoegaze-teetering crescendos, even kitchen-sink piano balladry. Each of the 10 songs could’ve been a single, and the physical edition’s accompanying DVD offers pleasantly warped videos for all of them. It was still dream pop, all right, right down to the “Twin Peaks”-echoing lyrical hook of the bleakly glamorous “Silver Soul.” But it was dream pop that could entice Jay-Z and Beyoncé out to a gig. Beach House have a well-earned reputation for not changing much, but on Teen Dream, they came into their own, and ushered the languid reveries of Galaxie 500, Mazzy Star, and Cocteau Twins into the current Instagram decade. –Marc Hogan
Year of Release:
2010
Appears in:
Rank Score:
10,243
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With its dislocating atmospheres and diffident vocals, all dream pop is outsider music. Galaxie 500 sounded so removed from a sense of time or place that they made this fact nonnegotiable. The droning, doleful music of their second album, On Fire, arrived with the quiet subtlety of a profound secret. Over a few chords and understated drumming, Dean Wareham mumbled clever lyrics about his Dodge Dart, the weatherman, and liminal things. Drummer Damon Krukowski and bassist Naomi Yang made their spare neo-psychedelia burst with emotion.
On Fire sounds like the Velvet Underground slowly warming up: In lieu of a Pop Art banana, Wareham sings about waiting in a line eating Twinkies; instead of heroin, he has a song about dropping acid in the woods; instead of Warhol, Galaxie 500 pair with an eccentric, no-frills producer named Kramer. As in all great dream pop, these impressionistic elements congeal into a single atomic sound, as if the instruments have eclipsed one another, moving with the crawl of a cloud. –Jenn Pelly
On Fire sounds like the Velvet Underground slowly warming up: In lieu of a Pop Art banana, Wareham sings about waiting in a line eating Twinkies; instead of heroin, he has a song about dropping acid in the woods; instead of Warhol, Galaxie 500 pair with an eccentric, no-frills producer named Kramer. As in all great dream pop, these impressionistic elements congeal into a single atomic sound, as if the instruments have eclipsed one another, moving with the crawl of a cloud. –Jenn Pelly
Year of Release:
1989
Appears in:
Rank Score:
4,120
Rank in 1989:
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Over the course of their 34-year career, Yo La Tengo have summoned squalls of feedback and tackled Stooges covers; they’ve swum with the fishes, whispered nursery rhymes, worshipped at the church of Burt Bacharach and Hal David. But their range and curiosity are balanced by their interest in conjuring enveloping moods, the kind you can wrap around yourself like well-worn woolens. With 2000’s And Then Nothing Turned Itself Inside-Out, they embarked upon a 77-minute immersion in the deepest, sweetest sort of reverie.
In a year that was supposed to be all about cybernetic upheavals, Yo La Tengo made the quietest, coziest album of their career, one suffused in lullaby-like close harmonies and cotton-candy 1960s flashbacks, from the liquid slide guitar of the opening “Everyday” to the weightless closer “Night Falls on Hoboken,” an 18-minute excursion that plays out like a dream within a dream. Rather than a radical departure from the trio’s well-worn sound, And Then Nothing clarifies their signature into a heartbeat wrapped in a hush. Even the lone explosion of out-and-out rock—“Cherry Chapstick,” which channels shoegaze’s whammy-bar abuse through Daydream Nation’s silvery fuzz—is as sweet as it is abrasive. Sure, you can have it all, as they sing on one of the album’s highlights, but wouldn’t you rather have just this one perfect thing? –Philip Sherburne
In a year that was supposed to be all about cybernetic upheavals, Yo La Tengo made the quietest, coziest album of their career, one suffused in lullaby-like close harmonies and cotton-candy 1960s flashbacks, from the liquid slide guitar of the opening “Everyday” to the weightless closer “Night Falls on Hoboken,” an 18-minute excursion that plays out like a dream within a dream. Rather than a radical departure from the trio’s well-worn sound, And Then Nothing clarifies their signature into a heartbeat wrapped in a hush. Even the lone explosion of out-and-out rock—“Cherry Chapstick,” which channels shoegaze’s whammy-bar abuse through Daydream Nation’s silvery fuzz—is as sweet as it is abrasive. Sure, you can have it all, as they sing on one of the album’s highlights, but wouldn’t you rather have just this one perfect thing? –Philip Sherburne
Year of Release:
2000
Appears in:
Rank Score:
1,739
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Liz Harris’ early work as Grouper was dark and distorted, a black-hearted churn of ambient and noise that found her burying her voice under piles of sonic sludge. With Dragging a Dead Deer Up a Hill, her music crawled out from under the wreckage and turned to face the sunlight. Where she once assembled free-flowing “pieces,” she was now singing proper songs, ones that connected strands of British folk, gothic lullabies, and devotional music as heard echoing through an ancient cathedral. And it’s all done with very little. Most of the tracks on Deer feature just a few elements—a gently strummed guitar and Harris’ processed and layered voice predominate—and the arrangements are thin and airy, evoking the tingle of buried memory returning to consciousness. But an intense ache sits at their center of these songs like a boulder. Every note drips with loss and the music is crushingly sad, but by sharing in Grouper’s pain, we get a feeling that art just might save us. –Mark Richardson
Year of Release:
2008
Appears in:
Rank Score:
1,152
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Tender Buttons was new terrain for Birmingham band Broadcast. The group had been known for taking the lithe psych-pop of the ’60s and smearing it with feedback, muscular percussion, and crunchy synths on their landmark albums The Noise Made by People and Haha Sound. But in 2005, the group shaved down to a duo, comprising only of frontwoman Trish Keenan and bassist James Cargill. As a duo, Keenan and Cargill translated their signature thorniness into something captivating.
The palpable power of Neil Bullock’s drums on Haha Sound seemed like something that could have been irreplaceable, but the pared-down sound on Tender Buttons proved that Keenan and Cargill were truly the group’s central nervous system. The flavors of yé-yé sung in Keenan’s spectral voice sound even more intimate over a drum machine, as evidenced by the sticky “Black Cat” and sparse, sweet “Tears in the Typing Pool.” Staticky and serene tracks like “America’s Boy” and “Corporeal” proved that Broadcast’s pop subversion was malleable. Tender Buttons may not be as delicate as other classics of dream-pop, but its noisy, sanguine sound and the group's maverick spirit make it essential. –Claire Lobenfeld
The palpable power of Neil Bullock’s drums on Haha Sound seemed like something that could have been irreplaceable, but the pared-down sound on Tender Buttons proved that Keenan and Cargill were truly the group’s central nervous system. The flavors of yé-yé sung in Keenan’s spectral voice sound even more intimate over a drum machine, as evidenced by the sticky “Black Cat” and sparse, sweet “Tears in the Typing Pool.” Staticky and serene tracks like “America’s Boy” and “Corporeal” proved that Broadcast’s pop subversion was malleable. Tender Buttons may not be as delicate as other classics of dream-pop, but its noisy, sanguine sound and the group's maverick spirit make it essential. –Claire Lobenfeld
Year of Release:
2005
Appears in:
Rank Score:
929
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The muse sang in Tim Buckley when he wrote “Song to the Siren,” a lovelorn ’60s ballad for the female monsters whose incantations tempted Homer’s Odysseus. But the track wouldn’t fulfill its mesmerizing potential until 1983, when Cocteau Twins’ Elizabeth Fraser unfurled her diaphanous voice over its devotional lyrics on a cover by This Mortal Coil. Intended as a B-side, the recording became the 4AD super-collective’s first single, lingering on the UK indie charts for two years.
“Siren” looms so large in the dream pop mythos, it can overshadow not just the debut album it anchors, It’ll End in Tears, but also the entire discography of This Mortal Coil. Conceived and produced by 4AD founder Ivo Watts-Russell, the band was designed to recontextualize some of his favorite songs and encourage experimentation beyond each contributing artist’s signature sound. Cindytalk frontman Gordon Sharp’s echoing laments transform Big Star’s “Kanga Roo” from lackadaisical to crushing, while piano lends additional solemnity to the same band’s “Holocaust,” as sung by Howard Devoto of Magazine. Paired with atmospheric compositions by Fraser’s Cocteau Twins bandmates, Dead Can Dance vocalist Lisa Gerrard, and more stars, this collection of covers helped set the template for dream pop and catalyzed 4AD’s ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence. –Judy Berman
“Siren” looms so large in the dream pop mythos, it can overshadow not just the debut album it anchors, It’ll End in Tears, but also the entire discography of This Mortal Coil. Conceived and produced by 4AD founder Ivo Watts-Russell, the band was designed to recontextualize some of his favorite songs and encourage experimentation beyond each contributing artist’s signature sound. Cindytalk frontman Gordon Sharp’s echoing laments transform Big Star’s “Kanga Roo” from lackadaisical to crushing, while piano lends additional solemnity to the same band’s “Holocaust,” as sung by Howard Devoto of Magazine. Paired with atmospheric compositions by Fraser’s Cocteau Twins bandmates, Dead Can Dance vocalist Lisa Gerrard, and more stars, this collection of covers helped set the template for dream pop and catalyzed 4AD’s ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence. –Judy Berman
Year of Release:
1984
Appears in:
Rank Score:
626
Rank in 1984:
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Average Rating:
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If listening to Beach House’s Teen Dream felt like throwing open the shades and letting light into a dusty sunroom, Bloom revisited that same space at twilight, still opulent and opaque but with new scope. Alex Scally’s sparkling guitar leads and Victoria Legrand’s cyclone of a voice are instantly recognizable, but they’re distorted in mystery. Bloom is a seductive album that has little to do with romance or sexual gratification; its characters feel the tug of adventure, of sensations and phenomena they can’t quite describe.
And while Bloom boasts some of the most indelible melodies in Beach House’s discography—the twinkling “Lazuli,” the extended sigh of “Other People”—it’s most notable as a collection of remarkable sounds. “Myth” opens with that plonking bell, cracked like an egg after two stiff shakes; the drums on “Wild” foam and splash like the ocean around your ankles; “The Hours” clocks you with that sneering riff, a slow-motion punk moment. These little moments may not sound like much, but they end up feeling like dashes of spice added to a favorite home-cooked meal. There’s something unexpected lurking in every familiar bite. –Jamieson Cox
And while Bloom boasts some of the most indelible melodies in Beach House’s discography—the twinkling “Lazuli,” the extended sigh of “Other People”—it’s most notable as a collection of remarkable sounds. “Myth” opens with that plonking bell, cracked like an egg after two stiff shakes; the drums on “Wild” foam and splash like the ocean around your ankles; “The Hours” clocks you with that sneering riff, a slow-motion punk moment. These little moments may not sound like much, but they end up feeling like dashes of spice added to a favorite home-cooked meal. There’s something unexpected lurking in every familiar bite. –Jamieson Cox
Year of Release:
2012
Appears in:
Rank Score:
7,894
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Overall Rank:
Average Rating:
Comments:
10. 
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The opening piano clunk of Julee Cruise’s “Falling” are two of television’s most famous notes: Performed by Angelo Badalamenti, they are the basis for the “Twin Peaks” theme. On TV, the song is instrumental (and inferior), a creepy call to arms for weirdos to plop on the couch and cry for Laura Palmer. But Cruise takes the song out of the darkness, as the airiness of her voice transforms the horrid into something beautiful, if still somewhat grotesque. Dream pop is synonymous with fuzz, but Floating Into the Night has more of a lacquer in its blend of Cruise’s sweet and foggy singing, raw saxophone, gentle guitar strokes, and held synthesizer notes. Of course it worked for “Twin Peaks,” a dreamy, scary alternate reality; “I Float Alone”—written, like all of the album, alongside David Lynch—epitomizes that. It’s a lounge number that, in other hands, might have never left the hotel bar. Is “floating through this darkness all alone” about a breakup or about the fallout of a murder? Is Cruise an angel sent from heaven to bless us with her pure whisper, or is she the devil in disguise? Is “both” an option? –Matthew Schnipper
Year of Release:
1989
Appears in:
Rank Score:
1,491
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Average Rating:
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Total albums: 30. Page 1 of 3
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Pitchfork: 30 Best Dream Pop Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 0 | 0% | |
| 1970s | 0 | 0% | |
| 1980s | 5 | 17% | |
| 1990s | 8 | 27% | |
| 2000s | 10 | 33% | |
| 2010s | 7 | 23% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Grouper | 2 | 7% | |
| Cocteau Twins | 2 | 7% | |
| Mazzy Star | 2 | 7% | |
| Low | 2 | 7% | |
| Beach House | 2 | 7% | |
| Galaxie 500 | 2 | 7% | |
| Atlas Sound | 1 | 3% | |
| Show all | |||
Pitchfork: 30 Best Dream Pop Albums similar charts
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| Top 20 Music Albums of 2012 | DanielU | 2012 year chart | 2020 |  |
| Top 21 Music Albums of 1990 | Dayved00 | 1990 year chart | 2019 |  |
| Die ByteFM Jahrescharts 2012 | ByteFM | 2012 year chart | 2012 |  |
| Top 20 Music Albums of 1990 | DanielU | 1990 year chart | 2020 | |
| Top 25 Greatest Music Albums | robosteven | Overall chart | 2012 | |
| Top 22 Greatest Music Albums | gnarlyraejepsen | Overall chart | 2016 | |
| Top 20 Music Albums of 2008 |  Komorebi-D | 2008 year chart | 2018 |  |
| Popnews Bilan 2010 | cicadelic | Custom chart | 2025 | |
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