Post-rock

From Wikipedia, the free encyclopedia
  (Redirected from Post Rock)
Jump to: navigation, search

Post-rock is a form of experimental rock[3] characterized by the influence and use of instruments commonly associated with rock music, but using rhythms and "guitars as facilitators of timbre and textures" not traditionally found in rock. Post-rock bands are often instrumental.[4][5][3] Although firmly rooted in the indie or underground scene of the 1980s and early 1990s, post-rock's style often bears little resemblance musically to that of contemporary indie rock.[5][3]

Prominent post-rock groups include Sigur Rós, Explosions in the Sky, Mono, Godspeed You! Black Emperor, Stereolab, Mogwai, Disco Inferno, and Tortoise, with individual styles between groups differing widely despite being centered on guitars and drums. As such, the term has been the subject of controversy from listeners and artists alike.[6]

Etymology[edit]

The term "post-rock" is believed to have been coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine.[7] Reynolds expanded upon the idea later in the May 1994 issue of The Wire.[4][8] 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.

Reynolds, in a July 2005 entry in his blog, claimed he had used the term "post-rock" before using it in Mojo, previously using it in music newspaper Melody Maker.[9] He also said he later found the term not to 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." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning.[10] It was also used in the Rolling Stone Album Guide to name a style roughly corresponding to "avant-rock" or "out-rock".[9]

Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest".[11]

Characteristics[edit]

Post-rock group Sigur Rós performing at a 2005 concert in Reykjavík.

The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, ambient,[12] psychedelia,[12] prog rock, space rock, math rock, tape music, minimalist classical, British IDM, jazz (both avant-garde and cool), and dub reggae,[3] as well as post-punk, free jazz, contemporary classical, and avant-garde electronica.[13] It also bears similarities to drone music.[14][3] Early post-rock groups also often exhibited strong influence from the krautrock of the 1970s, particularly borrowing elements of "motorik", the characteristic krautrock rhythm.[3][15][16][17]

Post-rock compositions often make use of repetition of musical motifs and subtle changes with an extremely wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism.[15] Typically, post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture.[4]

Vocals are often omitted from post-rock; however, this does not necessarily mean they are absent entirely. When vocals are included, the use is typically non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean", easily interpretable vocals are important for poetic and lyrical meaning.[3] When present, post-rock vocals are often soft or droning and are typically infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language that critics call "Hopelandic" ("Vonlenska" in Icelandic, a term even used by the band), which has been described by the band as "a form of gibberish vocals that fits to the music and acts as another instrument."[18]

In lieu of typical rock structures like the verse-chorus form, post-rock groups generally make greater use of soundscapes. As Simon Reynolds states in his "Post-Rock" from Audio Culture, "A band's journey through rock to post-rock usually involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music".[19] Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.

Wider experimentation and blending of other genres have recently taken hold in the post-rock scene. Cult of Luna, Isis, Russian Circles, Palms, Deftones, and Pelican have fused metal with post-rock styles. The resulting sound has been termed post-metal. More recently, sludge metal has grown and evolved to include (and in some cases fuse completely with) some elements of post-rock. This second wave of sludge metal has been pioneered by bands such as Giant Squid and Battle of Mice. This new sound is often seen on the label of Neurot Recordings.[20] Similarly, bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while primarily using the latter.[21] In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an even wider embrace of disparate musical influences as it can be heard in bands like Deafheaven.

History[edit]

Early precedents[edit]

Post-rock appears to take a heavy influence from late 1960s U.S. group The Velvet Underground and their "dronology" — "a term that loosely describes fifty percent of today's post rock activity".[22]

British group Public Image Ltd (PiL) were also pioneers, described by the NME[23] as "arguably the first post-rock group". Their second album Metal Box (1979) almost completely abandoned traditional rock and roll structures in favor of dense, repetitive dub and krautrock inspired soundscapes and John Lydon's cryptic, stream-of-consciousness lyrics. The year before Metal Box was released, PiL bassist Jah Wobble declared, "rock is obsolete".[24] The Flowers of Romance (1981), their third album, was an even more radical departure, emphasizing rattling percussion and abstract tape music.

This Heat are regarded as having predated the genre because of their unique combination of avant-prog, krautrock, and industrial music[not in citation given].[25][26][27] Their music has been compared directly to Slint, Swans and Stereolab.[25][26] Stump have been referred to as "a significant precursor to post-rock" due to the "strictness" of the band's avant-garde approach.[28]

1990s post-rock[edit]

Bands from the early 1990s, such as Slint or, earlier, Talk Talk, were later recognized as influential on post-rock.[5] Despite the fact that the two bands are highly different from one another, Talk Talk emerging from art rock and new wave and Slint emerging from post-hardcore, they both have had a driving influence on the way post-rock progressed throughout the 1990s.

Post-rock group Mogwai performing at a 2007 concert.

Originally used to describe the music of English bands such as Stereolab,[29] Laika,[30] Disco Inferno,[31] Moonshake,[32] Seefeel,[5] Bark Psychosis, and Pram,[4] post-rock grew to be frequently used for a variety of jazz and krautrock influenced, largely instrumental, and electronica-tinged music made after 1994.[5][3]

Post-rock group Do Make Say Think performing at a May 2007 concert.

Groups such as Cul de Sac, Tortoise, Labradford, Bowery Electric and Stars of the Lid are cited as founders of a distinctly American post-rock movement.[33] The second Tortoise LP Millions Now Living Will Never Die, made the band a post-rock icon.[5][34] Many bands (e.g., Do Make Say Think) began to record music inspired by the "Tortoise-sound".[35]

In the late 1990s, Chicago was the home base for a variety of post-rock associated performers. Both John McEntire of Tortoise and Jim O'Rourke of Brise-Glace and Gastr del Sol were important producers for many of the groups.[36] One of the most eminent post-rock locales is Montreal, where Godspeed You! Black Emperor and similar groups, including Silver Mt. Zion and Fly Pan Am record on Constellation Records, a notable post-rock record label.[37] These groups are generally characterized by an aesthetic rooted in, among other genres, musique concrète, chamber music, and free jazz.[15]

2000s and 2010s post-rock[edit]

In the early 2000s, the term had started to fall out of favor.[38] It became increasingly controversial as more critics outwardly condemned its use.[3] Some of the bands for whom the term was most frequently assigned, including Cul de Sac,[39][40] Tortoise,[38] and Mogwai,[6] rejected the label. The wide range of styles covered by the term, they and others have claimed, rob it of its usefulness.[41]

Today, despite criticism of the term, post-rock has maintained its prominence. In 2000, Radiohead released the critically acclaimed studio album Kid A,[42][43] marking a turning point in their musical style. Sigur Rós, with the release of Ágætis byrjun in 1999, became among the most well known post-rock bands of the 2000s. In part this was due to the use of many of their tracks, particularly their 2005 single "Hoppípolla", in TV soundtracks and film trailers, including the BBC's Planet Earth. Their popularity can at least somewhat be attributed to a move towards a more rock oriented sound with simpler song structures and increasing utilization of pop hooks.[44] Explosions in the Sky, 65daysofstatic, This Will Destroy You, Do Make Say Think, and Mono are some of the more popular post-rock bands of the new millennium.[45] Following a 13-year hiatus, experimental rock band Swans have released a number of albums that exhibit post-rock traits, most notably To Be Kind, which made it into the top 40 for both the US and the UK. The Swedish post-rock band Oh Hiroshima received positive reception for their album In Silence We Yearn, released in 2015.[46][47]

See also[edit]

References[edit]

  1. ^ Howells, Tom (October 5, 2015). "Blackgaze: meet the bands taking black metal out of the shadows". The Guardian. Retrieved September 28, 2017. Enter "blackgaze", the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore. 
  2. ^ Bloggins, Kenny (April 3, 2012). "Dreamlab: The Semantics of Post-Rock". Consequence of Sound. Retrieved September 28, 2017. 
  3. ^ a b c d e f g h i "Post-Rock". AllMusic. Retrieved September 28, 2017. 
  4. ^ a b c d Reynolds, Simon (May 1994). "S. T". The Wire. Archived from the original on December 2, 2001. Retrieved July 8, 2007. 
  5. ^ a b c d e f Abebe, Nitsuh (July 11, 2005). "The Lost Generation" (PDF). Pitchfork Media. Retrieved September 28, 2017. 
  6. ^ a b Redfern, Mark (2001). "A Conversation with Mogwai's Dominic Aitchison". Under the Radar. Archived from the original on February 12, 2003. Retrieved November 28, 2006. 
  7. ^ Reynolds, Simon (March 1994). "Bark Psychosis: Hex". Mojo. Retrieved 2008-07-08. 
  8. ^ "The Wire 20". The Wire. November 2002. Archived from the original on August 17, 2004. Retrieved July 8, 2008. 
  9. ^ a b Reynolds, Simon (July 14, 2005). "S. T". blissblog. Retrieved November 28, 2006. 
  10. ^ Wolcott, James (July 1975). "Todd Rundgren – Street Punk in Self-Imposed Exile". Creem. Archived from the original on October 14, 2007. Retrieved July 8, 2008. 
  11. ^ Walker, Steven (April 1992). "S. T". Juke. Retrieved September 28, 2017. 
  12. ^ a b Wiederhorn, Jon (4 August 2016). "A Brief History of Post-Metal". Bandcamp. Retrieved 14 November 2017. 
  13. ^ Heller, Jason (June 20, 2013). "Picking a path through the nebulous terrain of post-rock". The A.V. Club. Retrieved September 28, 2017. 
  14. ^ Cox & Warner 2004, p. 359 (in "Post-Rock" by Simon Reynolds): "The Velvets melded folkadelic songcraft with a wall-of-noise aesthetic that was half Phil Spector, half La Monte Young—and thereby invented dronology, a term that loosely describes 50 per cent of today's post-rock activity." (about the Velvet Underground and post-rock)
  15. ^ a b c Henderson, Keith (June 2001). "What Exactly Comes After Post-rock?". Aural Innovations. Retrieved September 28, 2017. 
  16. ^ Hacker, Scot (July 1996). "The Post-Rock Phenomenon". Utne Reader. Retrieved September 28, 2017. 
  17. ^ Tweney, Chris (May 1997). "What You Need to Know About Electronica". The Net Net. Archived from the original on February 11, 2007. Retrieved September 28, 2007. 
  18. ^ "Sigur Ros frequently asked questions". Eighteen Seconds Before Sunrise. Retrieved September 28, 2017. 
  19. ^ Reynolds, Simon (2004). Cox, Christoph; Warner, Daniel, eds. Audio Culture: Readings in Modern Music. New York: Continuum. ISBN 978-0-8264-1615-5. 
  20. ^ Caramanica, Jon (September 20, 2005). "The Alchemy of Art-World Heavy Metal". The New York Times. Retrieved September 28, 2017. 
  21. ^ Tsarfin, Zena. "Altar of Plagues". Decibel Magazine. Red Flag Media. Archived from the original on February 6, 2010. Retrieved March 10, 2014. (Subscription required (help)). 
  22. ^ Reynolds, Simon (2007). Cox, Cristoph and Daniel Warner, ed. Audio Culture: Readings in Modern Music. Continuum International. p. 359. ISBN 0-8264-1615-2. 
  23. ^ "NME Reviews: Plastic Box". NME. January 11, 1999. Archived from the original on June 10, 2008. Retrieved July 8, 2008. 
  24. ^ Reynolds, Simon (November 1, 2007). "Heavy Metal". Frieze Magazine. Retrieved September 28, 2017. 
  25. ^ a b Philip Sherburne (January 26, 2016). "This Heat: This Heat/Health and Efficiency/Deceit Album Review". Pitchfork. Retrieved September 28, 2017. 
  26. ^ a b Sean Ford. "This Heat: This Heat - Records - Cokemachineglow". Retrieved September 28, 2017. 
  27. ^ "This Heat - This Heat - Songs, Reviews, Credits". AllMusic. Retrieved September 28, 2017. 
  28. ^ Joseph Neff (March 22, 2012). "Graded on a Curve: Stump, A Fierce Pancake". The Vinyl District. Retrieved September 28, 2017. 
  29. ^ Ashlock, Jesse (August 27, 2001). "Stereolab biography". Epitonic. Archived from the original on September 27, 2007. Retrieved March 29, 2007. 
  30. ^ Levy, Doug (September 24, 2000). "Laika Kick Off U.S. Tour In Seattle". VH1.com. Retrieved July 8, 2008. 
  31. ^ Acceturo, Jeanne (August 10, 2001). "Disco Inferno biography". Epitonic. Archived from the original on September 27, 2007. Retrieved March 29, 2007. 
  32. ^ Wilmoth, Charlie (2004-01-26). "Dusted Reviews review of Minamo — Beautiful". Dusted Magazine. Retrieved 2007-03-29. 
  33. ^ Reynolds, Simon (November 1995). "Back to the Future". The Wire. 141: 26–30. 
  34. ^ Buchan, Phillip (April 13, 2004). "Tortoise — It's All Around You". Splendid Magazine. Archived from the original on September 30, 2007. Retrieved March 29, 2007. 
  35. ^ "Do Make Say Think — And Yet review". Textura. February 2003. Retrieved September 28, 2017. 
  36. ^ P. Buckley, The Rough Guide to Rock, (Rough Guides, 1999), ISBN 1858284570, P. 913
  37. ^ Weinberger, Ian (November 19, 2002). "Post-rock: a movement of the 90s still kickin'". McGill Tribune. Archived from the original on September 28, 2007. Retrieved March 29, 2007. 
  38. ^ a b Hutlock, Todd (September 1, 2006). "Review of Tortoise's A Lazarus Taxon". Stylus Magazine. Archived from the original on September 17, 2006. Retrieved November 28, 2006. 
  39. ^ "Cul de Sac Interview". Retrieved September 28, 2017. 
  40. ^ Lang, Dave (March 1998). "Interview with Cul de Sac's Glenn Jones". Perfect Sound Forever. Retrieved 2006-11-29. 
  41. ^ Richardson, Derk (May 12, 2005). "Hear & Now". San Francisco Gate. Retrieved September 28, 2017. 
  42. ^ Simon Reynolds (2 October 2015). "Classic Reviews: Radiohead, 'Kid A'". Spin. Retrieved 21 January 2017. 
  43. ^ Reynolds, Simon (October 2000). "Radio Chaos". Spin. Retrieved 23 April 2007. 
  44. ^ Allmusic review: Sigur Rós – Með suð í eyrum við spilum endalaust
  45. ^ Babbili, Laura (2007-03-15). "Bang On: Explosions in the Sky". Gigwise. Retrieved 2007-03-09. 
  46. ^ James West (September 26, 2016). "Review: "Oh Hiroshima – In Silence We Yearn"". Contrast Control. Retrieved September 28, 2017. 
  47. ^ Joshua Parker (July 12, 2016). "Oh Hiroshima Re-Issue 2015 Post-Rock Masterpiece Album on CD". Indie Band Guru. Retrieved September 28, 2017.