Shoegaze and the influence of minimalist composition on its structural approach is something that the music press has been slow to acknowledge.

The feedback loops and sustained tones of shoegaze guitar have formal parallels to minimalist composition techniques — the way a sound changes over time through imperceptible gradations, the use of sustained drone tones as harmonic fields rather than as functional harmony, the interest in timbre and texture as primary compositional elements.

La Monte Young's exploration of sustained tones as compositional elements in the 1960s has a direct or indirect influence on the approach to guitar tone in shoegaze that I've never seen discussed in music press but seems audible when you know to listen for it.

I'm not claiming this is a conscious influence in most cases. But the convergent evolution between minimalist composition and shoegaze aesthetics suggests that both are responding to similar intuitions about how sustained sound creates experience.