‘Post-Rock’ is a term commonly used to describe music characterised by the use of ‘rock instruments for non-rock purposes’. It is a sub-genre of Indie music that gained popularity in the mid-90s. Prominent artists that are often placed under this tag today include Mogwai, Tortoise and Sigur Ros (Allmusic). These bands are similar in that they are mainly instrumental (although Sigur Ros do have vocals, they ‘sing’ in a fusion of English and Icelandic).
However, the post-rock culture, or scene, actually began as something quite different from what it has become since. It is different from many other subcultures as the ideology of those involved with post-rock was actually based on the idea of escaping the mainstream and genre classification, and the notion of not even being a subculture at all. Other subcultures, such as Indie, Alternative and Punk, deliberately separated themselves from the norm by fragmenting away from the mainstream in specific groups (Hodgkinson, 2004). However, as journalist Simon Reynolds, the man who is understood to have coined the term, says,
“Post-Rock severs itself from rock ‘n’ roll ideas like ‘youth,’ ‘community,’ and ‘populism’… they have given up the idea of mass success or even Indie cult-hood, and accepted the idea of being marginal forever” (1994).
The culture of, and the music within Post-Rock can be hard to define or label, as the idea behind the ‘scene’ was to oppose the very idea of scenes. This resulted in a kind of post-modern lack of cohesion.
This is exaggerated by the fact that musically, the artists said to be Post-Rock when the term began to be used, are often dissimilar. Unlike today where it describes mainly guitar-derived instrumental music that invokes a mood or emotion, Post-Rock was typified by, and aimed for, innovation (Hodgkinson, 2004). This included the more experimental elements of Kraut-rock, ambient, prog-rock, space rock, math rock, tape music, minimalist classical, British IDM, jazz (both avant-garde and cool), and dub reggae (Allmusic). Prominent artists were Stereolab, Slint, and Talk Talk, who do not sound similar at all.
Another differing factor between Post-Rock and other subcultures was that it was not associated with any particular area geographically. Rather, a few isolated and, at the beginning, unnetworked areas such as parts of the UK, Chicago in the US, Montreal in Canada, and New Zealand. These areas often produced distinguishing sounds that, as the culture grew, became more recognised (Hodgkinson, 2004).
Ultimately as appreciation of the genre of music and its associated scene grew, they became more recognised and subsequently, became more defined. This, of course, defeats the purpose of this scene that attempted to remain ‘pure’ of such labelling. In fact those involved in the Post-Rock subculture (mainly those making said music or writing about it in fanzines) did not embrace the banner of Post Rock at all (Reynolds, 2005).
Nowadays (though again, without the labelling), the Post-Rock culture still exists, but is often intermingled with Indie and Low-Fi. These subcultures use online tools such as forums and other websites to connect with each other. Pitchfork uses a mix of regular journalists as well as information from the public in order to provide comprehensive music news about artists not covered by more mainstream music news sites. One quite unique online collaboration tool is Tiny Mix Tape's Mix Tape Generator where users of the site create mix tapes to match what are often quite humorous moods or themes submitted by other users.
This perhaps inevitable progression is what has allowed the ideology to continue, if not in its intended pure form.
As a relatively young Post-Rock fan, I was introduced to the genre through its newer form that I mentioned. As I read more about the Genre, I discovered many of the original artists. Now I can say I am as big a fan of Stereolab as I am of Mogwai as I am of A Silver Mt Zion, all of whom are labelled Post-Rock, yet all of who represent different forms and periods of Post-Rock. As much as those making the music may not wish to be labelled or boxed, doing so allows their music to be shared and appreciated.
While many Post-Rock related resources focus only on the music genre, particularly on its more recent history, I hope in this blog I’ve helped to explain to any Post-Rock music fans the complexity of the culture behind the music.
For an incredibly in-depth review of the different artists within the subgenres of Post-Rock, check out Piero Scaruffi’s “History of Rock Music” Post-Rock section at http://www.scaruffi.com/history/cpt521.html
To listen to a few examples of Post-Rock, Keith Henderson put together an “Audio Journey” at http://www.aural-innovations.com/issues/issue16/postrok1.html
For Post-Rock artist, album or track recommendations look at Allmusic’s page on Post-Rock/Experimental at http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2682
References:
Allmusic. Nd. Post-Rock/Experimental. http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:2682 (Accessed May 11, 2008)
Hodgkinson, J. 2004. The Fanzine Discourse over Post-Rock. Music Scenes: Local, Translocal, and Virtual. 221-237. http://books.google.com.au/books?id=zrGa3vYOoZgC (Accessed May 11, 2008)
Reynolds, S. 2005. Untitled. http://blissout.blogspot.com/2005_07_01_blissout_archive.html#112140209965630241
(Accessed May 11, 2008)
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