Post-rock in the context of Simon Reynolds


Post-rock in the context of Simon Reynolds

⭐ Core Definition: Post-rock

Post-rock is a subgenre of experimental rock that emphasizes texture, atmosphere, and non-traditional song structures over conventional rock techniques. Post-rock artists often combine rock instrumentation and rock stylings with electronics and digital production as a means of enabling the exploration of textures, timbres and different styles. Vocals, when present, are often used as an instrumental layer, with many bands opting for entirely instrumental compositions. The genre began in indie and underground music scenes, but deviated.

The term post-rock was coined by music journalist Simon Reynolds and popularized in his review of Bark Psychosis' 1994 album Hex. He later expanded the concept as music "using rock instrumentation for non-rock purposes". The term has since developed to refer to bands oriented around dramatic and suspense-driven instrumental rock, making the term controversial among listeners and artists alike.

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Post-rock in the context of 1990s

The 1990s (often referred and shortened to as "the '90s" or "the Nineties") was the decade that began on 1 January 1990, and ended on 31 December 1999. Known as the "post-Cold War decade", the 1990s were culturally imagined as the period from the Revolutions of 1989 until the September 11 attacks in 2001. The dissolution of the Soviet Union marked the end of Russia's status as a superpower, the end of a multipolar world, and the rise of anti-Western sentiment. China was still recovering from a politically and economically turbulent period. This allowed the US to emerge as the world's sole superpower, creating relative peace and prosperity for many western countries. During this decade, the world population grew from 5.3 to 6.1 billion.

The decade saw greater attention to multiculturalism and advance of alternative media. Public education about safe sex curbed HIV in developed countries. Generation X bonded over musical tastes. Humor in television and film was marked by ironic self-references mixed with popular culture references. Alternative music movements like grunge, reggaeton, Eurodance, K-pop, and hip-hop, became popular, aided by the rise in satellite and cable television, and the internet. New music genres such as drum and bass, post-rock, happy hardcore, denpa, and trance emerged. Video game popularity exploded due to the development of CD-ROM supported 3D computer graphics on platforms such as Sony PlayStation, Nintendo 64, and PCs.

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Post-rock in the context of Krautrock

Krautrock (also known as kosmische Musik, German for "cosmic music") is a broad genre of experimental rock and music scene that developed in West Germany in the late 1960s and early 1970s. Artists blend elements of psychedelic rock, avant-garde composition, and electronic music, among other eclectic sources. Common elements included hypnotic rhythms, extended improvisation, musique concrète techniques, and early synthesizers, while the music generally moved away from the rhythm & blues roots and song structure found in traditional Anglo-American rock music. Prominent groups associated with the krautrock label included Neu!, Can, Faust, Tangerine Dream, Kraftwerk, Cluster, Ash Ra Tempel, Popol Vuh, Amon Düül II and Harmonia.

The term "krautrock" was popularised by British music journalists as a humorous umbrella-label for the diverse German scene, and although many such artists disliked the term, it is no longer considered controversial by German artists in the 21st century. Despite this, English-language authors remain critical of it. The movement was partly born out of the radical student protests of 1968, as German youth rebelled against their country's legacy in World War II and sought a popular music distinct from traditional German music and American pop. The period contributed to the development of ambient music and techno, and influenced subsequent genres such as post-punk, new-age music, and post-rock.

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