violet oscillation on debut EP "it has become clear to me that all those who seek", Pedal Partners, and his Thames Valley roots

Even before shoegaze experienced a resurgence of popularity online, Luca was already documenting its evolution from the Thames Valley — the same region that produced bands such as Slowdive and Ride. A decade ago, he co-founded the Pedal Partners YouTube channel, which now has over 60,000 subscribers. He transformed his university dissertation into an ongoing resource on guitar tone, pedal signal chains, and genre history.

“There’s something about shoegaze—the way it uses noise to express sentiments beyond words,” Luca reflects. That philosophy lies at the core of his primary musical project, violet oscillation, where years of gear experimentation culminate in lush, textured songwriting. His work has drawn direct admiration from the genre's defining figures, from scoring the official Fender Blender launch video for Kevin Shields to having tracks mastered by Slowdive’s Simon Scott.

There’s a lot of misinformation online nowadays about the genre. When it gets miscategorized, the entire genre risks being erased. One misconception I notice a lot is the idea that anything with a bit of distortion is shoegaze, which isn't true—distortion is everywhere in popular music.

Ahead of the release of violet oscillation’s debut EP, it has become clear to me that all those who seek, we sat down with Luca to discuss his Thames Valley roots, correcting online misconceptions about the genre, and making the leap from gear archivist to songwriter.

Let’s start with Oxford and the Thames Valley. You grew up in the literal birthplace of shoegaze, surrounded by the history of bands like Slowdive and Ride. How does that feel for you?

Feels like home! It’s been integral to my entire life, really. First discovering shoegaze and then coming to the realization that this most beautiful music was literally made in the very places I know and love—something just clicked. It’s in the surroundings, down to playing with my band in the exact same venues all my favorite '90s bands played. I’ve devoted my life to the genre, making music with violet oscillation and, of course, documenting and exploring it with Pedal Partners.

Do you remember the first time shoegaze really clicked for you? What was the record or song that made you think, “This is the sound I want to make”?

There have only been a couple of moments in my life where a piece of music was so good it completely stopped me in my tracks. One of those was the first time I heard “Souvlaki Space Station” by Slowdive—that was a watershed moment for me. And then, of course, MBV’s Loveless. That took a few listens, but it finally clicked while I was driving down to the sea in Cornwall. It was the endless expanse of the ocean paired with the endless expanse of guitars and noise. I started writing down titles for songs I wanted to make right then.

I read that your real “big bang” moment with the genre was watching a YouTube video of the International Space Station soundtracked by Slowdive’s “Souvlaki Space Station,” and that it actually brought you to tears. What was happening in that moment? Why do you think that particular combination of music and imagery affected you so deeply?

There’s something about shoegaze—the way it uses noise to express sentiments beyond words or traditional musical forms. “Souvlaki Space Station” is one of my favorites to this day because it’s timeless; there’s nothing else even close in sound or feeling to that song.

The press release for your debut EP talks about bringing authentically crafted shoegaze “back home.” What does authentic shoegaze mean to you in 2026, and what were you trying to capture on this record that you felt was missing elsewhere?

I’ve spent the last ten years of my life studying and performing within the genre, which puts me in a unique position to understand its subtle nuances. The music I’m putting out captures the very essence of shoegaze—laden with the defining characteristics that make up the genre—while also contributing unique, exploratory textures that bring fresh sounds. I’m taking the sounds people worldwide know me for through my videos and translating them into album form. Over the last few months, I’ve devoted myself to recording as much music as possible; every time I pick up a guitar, I end up writing something new. With violet oscillation and abstract in sound, we write, record, and mix everything ourselves. The human element is always the most important part of making music to me.

The title of the EP feels almost like an unfinished sentence: it has become clear to me that all those who seek. Where does that phrase come from, and what exactly are you—or the listener—seeking?

It’s a phrase that came to me in a moment of reflection. I know how it ends on my end, but all art should be open to interpretation.

You started Pedal Partners around ten years ago, long before the current internet-driven shoegaze revival. What made you want to start the channel in the first place? And how did your interest in pedals begin?

Well, firstly, as we discussed with my connection to the local scene, there was something stirring inside me. There was a shared vision between Paige, Becca, and myself—we started all of this from nothing, and from day one, it’s just been the three of us. Paige and Becca have a really unique artistic identity as identical twins, and I find that subconsciously inspiring, whether creating visuals or coming up with song titles. As for guitar pedals, I’ve always been most interested in textures—building my songs up vertically instead of horizontally. It’s funny; I feel like I've reached a stage now where, after years of searching for the sound I was after, I finally have it.

If someone has just discovered shoegaze and wants to start experimenting with pedals, what is the one pedal you would tell them to buy first—and why?

If you’re after instant shoegaze sounds, I’d go with the Dreamgazer. I created that to be the pedal I didn’t have when I was starting out—that’s how a reverse reverb should be! I’ve taken my experience as a shoegazer to dream up the best pedals for the genre. With the Dreamgazer, I fixed an issue shoegazers have faced from the start: playing in time with reverse reverb. With its adjustable timing, I can actually stay in time when recording these songs.

Do you think the internet and the current shoegaze revival have changed the way people approach guitar effects? There’s now an entire generation learning about shoegaze through pedal demos, YouTube, and TikTok.

Yes, and it’s something I’ve witnessed firsthand. When I started out, there was really nothing on the internet about shoegaze or shoegaze effects, so we opened up that discussion on Pedal Partners. Our first few videos on shoegaze pedals were actually part of my university dissertation on that very topic. I’m really proud that it’s something we’ve done consistently every week for ten years now. We just stay focused on our passion for the genre.

You were hand-selected by My Bloody Valentine and Fender to create the music and video for the official Kevin Shields Fender Blender launch. What was it like getting that call?

Oh, that’s life-changing, right? I’d worked with Fender previously—they scouted me early on and always loved the music and videos I created for them. But being part of the Shields Blender launch was next level. That really meant a lot to me, and I deeply appreciate the love from Kevin Shields and Fender for that. I thoroughly enjoyed making the music and film for it.

The Slowdive connection runs particularly deep for you. Simon Scott has worn a violet oscillation T-shirt, and you’ve mentioned that Slowdive use one of your pedals. How did that relationship come about, and what does it mean to you to have one of the most important bands in the genre interacting with your work?

Slowdive are just lovely people, and they make some of my favorite music. Simon’s a top lad—he’s done some great masters for us over the years, like “Angel’s Kiss” by violet oscillation and “Reminiscer” by abstract in sound. Paige and I actually ran into Christian from Slowdive at an MBV gig, too. It’s always great seeing them.

You’ve spent so much time studying shoegaze through pedals, records, and gear. What do you think people most commonly misunderstand about the genre?

There’s a lot of misinformation online nowadays about the genre. When it gets miscategorized, the entire genre risks being erased. One misconception I notice a lot is the idea that anything with a bit of distortion is shoegaze, which isn't true—distortion is everywhere in popular music. Another is that "grunge is shoegaze," when those were two very juxtaposed movements. (I actually went through a five-year period in secondary school where I was known as the 'Nirvana kid' because that’s all I listened to!) I think part of it is just a natural evolution as shoegaze becomes more popular, which tends to happen when genres reach a wider audience. A few years ago, it was people in mansions and expensive studios calling themselves "bedroom pop."

Is there a shoegaze album that you think is overlooked specifically because it doesn’t fit neatly into the genre?

Not necessarily a specific album, but I think a lot of people are still stuck in an old, industry-focused mindset—only listening to music released on established record labels. Most of my favorite music comes from mates who are unsigned or smaller artists. I think some of the best music is made by people who do it purely for the love of it and nothing else.

Now that the EP is out, what’s next for violet oscillation? Do you see the project expanding into a full band, live shows, another EP, or something completely different?

I’m working on the debut album now. I have a backlog of songs to get through, which can be a lot when you're creating everything independently. Playing live has always been one of my favorite things to do, so I’m really looking forward to bringing these new songs—and the ones to come—to the stage.