Post-rock

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Post-rock
Stylistic origins:	Experimental, Minimalism, Ambient, Krautrock, Indie rock, Space rock, Shoegazing, Art rock, Jazz, and Electronica
Cultural origins:	Mid-1980s, United Kingdom and United States
Typical instruments:	Guitar – Bass – Drums – Synthesizer – Other less common instruments, such as Saxophone, Oboe, Glockenspiels, Piano, Cello or Violins.
Mainstream popularity:	Limited, exists mostly within the indie scene.
Regional scenes
Montreal and Chicago

Post-rock is a music genre characterized by non-traditional use of rock instruments and high musical density. Although firmly rooted in the indie scene, post-rock's style bears little resemblance musically to that of indie rock. However, as post-rock music is often recorded on independent labels, indie and post-rock often share the same level of obscurity.

1 Origin of the term
2 History of the scene
3 The post-rock sound
4 See also
5 References
6 Further reading
7 External links

[edit] Origin of the term

'Post-rock' was coined by Simon Reynolds in a review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea later in the May 1994 issue of The Wire.^[1]^[2]

He used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords." He further expounded on the term,

“

Perhaps the really provocative area for future development lies... in cyborg rock; not the wholehearted embrace of Techno's methodology, but some kind of interface between real time, hands-on playing and the use of digital effects and enhancement.

”

In a July 2005 entry in his blog, Reynolds claimed he had used the term "post-rock" before using it in Mojo, previously using it in music newspaper Melody Maker.^[3] He also said he later found the term to not be of his own creation, saying in his blog, "although I genuinely believed I was coining the term, I discovered many years later it had been floating around for over a decade."

[edit] History of the scene

Originally used to describe the music of such bands like Cul de Sac^[4], Stereolab^[5], Laika^[6], Disco Inferno^[7], Moonshake^[8], Seefeel^[9], Bark Psychosis and Pram^[1], it spread out to be frequently used for a variety of jazz and krautrock influenced, largely instrumental, and electronica-tinged music made after 1994^[9]. Bands from the early 1990s such as Slint, or earlier, such as Talk Talk were influential on this genre^[9].

As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental, which itself isn't a prerequisite of post-rock. As such, the term has been the subject of backlash from listeners and artists alike.^[10]

Slint's Spiderland^[9] and Talk Talk's Laughing Stock^[11] are often credited as birthing the genre that is now "post-rock". The band Tortoise are also widely considered as being among the founders of the movement.^[12] After the second Tortoise LP Millions Now Living Will Never Die, the band became a post-rock icon.^[9]^[13] Many bands (e.g., Do Make Say Think) began to record music inspired by the "Tortoise-sound."^[14]

In the late nineties Chicago became the home base for many different groups. Both John McEntire (of Tortoise) and Jim O'Rourke (of Brise-Glace, Gastr del Sol, and more) were important producers for many of them.^[15] Godspeed You Black Emperor! (from Montreal, Canada - later renamed Godspeed You! Black Emperor) and Mogwai (from Glasgow, Scotland) were among some of the influential bands of the scene to arise during this time. ^[16]

By the early 2000s, the term had started to fall out of favour.^[12] It became increasingly controversial as more critics outwardly condemned its use. Even the bands for whom the term was most frequently assigned, such as Cul de Sac,^[17]^[18] Tortoise,^[12] and Mogwai^[10] rejected the label that it placed on them. The wide range of styles covered by the term, they and others have claimed, rob it of its usefulness.^[19]

Today, despite criticism of the term, the post-rock genre lives on. Post-rock outfits Explosions in the Sky and Mono have risen in popularity.^[20]

Perhaps the most eminent post-rock "scene" today is that of Montreal, where Godspeed You! Black Emperor and similar orchestral post-rock bands, including A Silver Mt. Zion, Do Make Say Think, and Fly Pan Am record on the Constellation label.^[21] These groups are generally characterized by a leftist political ethic and an aesthetic rooted in, among other genres, musique concrète, chamber music, and free jazz.

[edit] The post-rock sound

As mentioned above, the post-rock sound incorporates a wide variety of musical genres, such as ambient, jazz, electronica, experimental, and sometimes even rock. The post-rock approach to music, such as the emphasis on instrumental work and sonic texture, is similar to the earlier New Age movement, which came out of the modern folk tradition. Post-rock is characterized by repetition of musical motifs and subtle changes, with an extremely wide range of dynamics. Most often, post-rock songs are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture. Guitar timbres are usually smooth. 3rd bridge guitars like the Fender Jaguar and the Jazzmaster in combination with delay and reverb are popular equipment. Harmonically, there is an emphasis on consonance, though by no means is there a definitive rule of thumb.

Vocals are often omitted from post-rock; however, this does not necessarily mean they are absent by necessity. When vocals are included, the use is often non-traditional; some post-rock bands employ vocals as an instrument, incidental to the overall sound, rather than the more traditional use where clean, interpretable vocals are important for poetic and lyrical meaning. When present, post-rock vocals are often soft and droning, and are typically infrequent or present in irregular intervals. Jessica Bailiff is a good example of this style of droning vocals. Sigur Rós, a band known for their distinctive vocals, have even fabricated a language they call 'Hopelandic', which has been described by the band as "a form of gibberish vocals that fits to the music and acts as another instrument".^[22]

Some bands such as Rachel's and Clogs combine post-rock with classical music, while others such as Godspeed You! Black Emperor are so far removed from popular music in their sparseness of arrangement and use of repetition, that they are frequently compared to minimalism.

Wider experimentation and blending of other genres have recently taken hold in the post-rock scene. Many bands, including Isis and Pelican have been fusing metal with post-rock, the resulting sound recently being termed post-metal. The Appleseed Cast's Low Level Owl 2001 project saw the previously emo band expand their sound with an ambitious double-album suite of atmospheric songs and ambient instrumental pieces. Some post-rock bands have been using vocals similar to those found in death metal, including Bossk.

Electronica and sampling elements are being incorporated in post-rock by groups like Pivot and From Monument to Masses.^{[citation needed]} Beyond this, the lines between post-rock and post-hardcore are also slowly being blurred by bands like Oceansize and Youthmovie Soundtrack Strategies.