"Shoegazing by no means dominated what the passed for the British 'indie' scene -- after Madchester/Baggy, other 'scenes' managed to hold the attention of the nation's music-buying public. The quirky efforts of Carter the Unstoppable Sex Machine and Kingmaker were unfathomably popular for a while in the likes of the NME and Melody Maker, only to be replaced on an almost weekly basis by other bands -- Pop Will Eat Itself, The Senseless Things, Ned's Atomic Dustbin, The Wonderstuff and even Daisy Chainsaw (or as Carter USM described them in 'The Only Living Boy in New Cross: "the grebos, the crusties and the goths")."
Largely a phenomenon confined to the Home Counties in terms of where the bands hailed from, the shoegazing scene enjoyed headline status in both the music press and on the festival and live circuit in the early 1990s, eclipsing the Madchester scene of 1990. With its origins in the distorted sounds of My Bloody Valentine and early Cocteau Twins, the shoegazing movement became known as "the scene that celebrated itself" by virtue of the coterminous fanbases of the bands and their attendance at each other's gigs. However, it did enjoy some commercial success in the form of Ride and My Bloody Valentine (the latter regarded as distinguished artists in their own right) and the influence of the main protagonists of the scene (Ride, Lush, Slowdive) carries on to this day, whereas the others (Adorable, Chapterhouse, Pale Saints) now rank among rock's also-rans. Shoegazing by no means dominated what the passed for the British 'indie' scene -- after Madchester/Baggy, other 'scenes' managed to hold the attention of the nation's music-buying public. The quirky efforts of Carter the Unstoppable Sex Machine and Kingmaker were unfathomably popular for a while in the likes of the NME and Melody Maker, only to be replaced on an almost weekly basis by other bands -- Pop Will Eat Itself, The Senseless Things, Ned's Atomic Dustbin, The Wonderstuff and even Daisy Chainsaw (or as Carter USM described them in 'The Only Living Boy in New Cross': "the grebos, the crusties and the goths"). By 1993, the 'shoegazer' (allmusic.com traces the term to: "the bands' motionless performing style, where they stood on stage and stared at the floor while they played") had become derogatory, the trademark of a spent-out oh-so-brief epoch of Indie Pop history. Indeed, many bands resisted the application of the tag and in some instances it was merely lazy pigeonholing by the music press. The scene itself and some of the bands that were part of it now enjoy cult status and although its heyday was arguably 1992, it could point to origins a full decade before and influence that pervades to this day.
they use all that effect pedals.. and look at the floor n all.. thats a dying/dead breed. like britpop