Bolton-based band Guri Yeller has never been afraid to experiment with sound, but with their latest dual-track release Black Shoes | Sister Misery, they make their most confident and fully realized sonic pivot yet. Scheduled for release on June 20th, this single marks a striking departure from the electronically-tinged textures of their previous work (Seeing Double), and a full-circle return to a style only hinted at in earlier releases—shoegaze. And not just shoegaze for show—this is immersive, textured, and emotionally potent shoegaze, rooted in tradition but shaped by the band’s evolving creative vision.
Where their sophomore single Dream Forever flirted with shoegaze, Black Shoes | Sister Misery dives in headfirst. The guitars are drenched in reverb and distortion, the vocals are buried just enough to make you lean in, and the atmosphere feels like it was filtered through late-night fog. Guri Yeller draws clear inspiration from shoegaze heavyweights like My Bloody Valentine and Slowdive, but also nods to the new wave of dreamy alt-rock acts like LSD and the Search for God, Winter, and she’s green.
That said, this release isn’t about imitation. What makes Black Shoes | Sister Misery special is how Guri Yeller makes the genre their own. It’s not just a stylistic change—it’s an artistic evolution that feels earned and intentional.
Black Shoes opens with a swirl of ambient guitar noise that quickly settles into a slow, hypnotic groove. The rhythm section provides a solid, almost motorik foundation, while shimmering guitar layers build a sense of movement and tension. The vocals are ethereal, delivered in a hushed tone that feels more like a memory than a message. It’s both melancholic and strangely comforting—like watching the rain from a warm window.
…Sister Misery picks up where Black Shoes leaves off but leans harder into the emotional weight. There’s a darker undercurrent here—more urgency in the rhythm, more dissonance in the guitar textures. If Black Shoes was the drift, Sister Misery is the dive. The lyrics (though abstract, as is often the case in shoegaze) seem to grapple with isolation and longing, echoing through waves of sound that crest and collapse in emotionally satisfying ways.
Together, the two tracks feel like chapters of the same story—distinct, but intrinsically connected. They explore different sides of the same emotional terrain, creating a dynamic and cohesive listening experience that lingers long after the final note.
Following their electronic-leaning release Seeing Double, Black Shoes | Sister Misery is a bold shift—but one that showcases Guri Yeller’s versatility and maturing artistry. Instead of riding one aesthetic wave, they’re proving their ability to navigate multiple sonic landscapes with confidence and clarity.
This kind of genre-hopping can be risky, but Guri Yeller pulls it off not by abandoning what came before, but by building on it. There’s still an underlying atmosphere-driven approach to their production—one that ties this release to their earlier work. What’s different now is the commitment. They’re no longer hinting at shoegaze—they’re living in it.
Though still early in their journey, Guri Yeller is clearly positioning themselves as a band to watch in the UK’s alternative scene. With performances across the North of England planned before the end of 2025 and a promising catalog taking shape, Black Shoes | Sister Misery feels like the beginning of a new creative chapter. It’s not just a release—it’s a statement.
Black Shoes | Sister Misery isn’t background music. It’s not meant to be casually consumed. It’s a soundscape to sit with—to feel and absorb. For fans of classic and contemporary shoegaze, this release is a must-listen. For anyone just discovering Guri Yeller, it’s a perfect entry point into a band that’s not just evolving, but arriving.
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