Na interminável classificação de géneros musicais, indispensável aliás para diferenciar e destacar as particularidades, deparei-me com o shoegazing.
Portanto, pessoal se por acaso tocarem numa banda de rock e olharem muito para o sapato serão provavalmente catalogados de nu-gaze band.
Shoegazing was a generalized tag given to some alternative rock bands that emerged from the United Kingdom in the late 1980s. It lasted until the mid 1990s, peaking circa 1990 to 1991. One could argue that it was simply a label for a generation of sullen bands using distortion and buried melodies already seen in previous years among bands like the Velvet Underground and Jesus and Mary Chain. Momentum for yet another musical category was driven primarily by My Bloody Valentine's genuinely innovative otherworldly guitar textures utilizing reverse reverb. The "shoegaze" label would quickly encompass so many disparate bands and studio techniques as to be meaningless. The "shoegaze" label ended up having more to do with what label a band was on and country they were from than any particular sound or idea.
The British music press (notably NME and Melody Maker) called this genre "shoegazing" because the musicians in these bands often maintained a motionless performing style, standing on stage and staring at the floor while playing their instruments; hence, the idea that they were gazing at their shoes. The shoegazing sound featured extensive use of guitar effects, and indistinguishable vocal melodies that blended into the creative noise of the guitars. Few shoegazers were dynamic performers or interesting interviewees, which prevented them from breaking through into markets in the United States. A lump description given to shoegaze bands in London in the early 1990s was "The Scene That Celebrates Itself." In the 1990s, shoegaze groups were pushed aside by the likes of American grunge and Britpop, forcing bands to breakup or evolve into a different style. Recent times have seen a renewed interest in the genre, among so-called "nu-gaze" bands.