Postrock
| Post-rock | |
|---|---|
| Stylistic origins | |
| Cultural origins | Late 1980s and early 1990s, United Kingdom, Canada and United States |
| Typical instruments | Electric guitar, bass guitar, drums |
| Derivative forms | Blackgaze |
| Fusion genres | |
| Post-metal | |
| Regional scenes | |
| Other topics | |
Post-rock is a form of experimental rock 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. 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.
Prominent post-rock groups include Sigur Rós, 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 backlash from listeners and artists alike.
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. Reynolds expanded upon the idea later in the May 1994 issue of The Wire. 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,
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