Post-rock

Last updated

Post-rock is a subgenre of experimental rock characterized by the exploration of textures and timbres as well as non-rock styles, often with minimal or no vocals, placing less emphasis on conventional song structures or riffs than on atmosphere for musically evocative purposes. [3] [4] Post-rock artists can 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. [5] [6] [3] The genre emerged within the indie and underground music scenes of the 1980s and 1990s, but as it abandoned rock conventions, it began to show less musical resemblance to conventional indie rock at the time. [6] [3] The first wave of post-rock derives inspiration from diverse sources including ambient, electronica, jazz, krautrock, psychedelia, dub, and minimalist classical, [3] with these influences also being pivotal for the substyle of ambient pop. [7]

Contents

Artists such as Talk Talk and Slint were credited with producing foundational works in the style in the late 1980s and early 1990s. [3] [6] The term "post-rock" was notably employed by journalist Simon Reynolds in a review of Bark Psychosis' 1994 album Hex , published in the March 1994 issue of Mojo magazine. [8] With the release of Tortoise's 1996 album Millions Now Living Will Never Die , post-rock became an accepted term for the associated scene of artists. [3] 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. [9] [10]

Etymology

The concept of "post-rock" was initially developed by Reynolds in the May 1994 issue of The Wire 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 that

[p]erhaps 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. [5] [11]

Reynolds, in a July 2005 entry in his blog, said that he had used the concept of "post-rock" before using it in Mojo , previously referring to it in a feature on Insides for music newspaper Melody Maker . [12] He also said he later found the term not to be of his own coinage, writing in his blog "I discovered many years later it had been floating around for over a decade." [12] In 2021, Reynolds reflected on the evolution of the style, saying that the term had developed in meaning during the 21st century, no longer referring to "left-field UK guitar groups engaged in a gradual process of abandoning songs [and exploring] texture, effects processing, and space," but instead coming to signify "epic and dramatic instrumental rock, not nearly as post- as it likes to think it is." [10]

Earlier uses of the term include its employment in a 1975 article by American journalist James Wolcott about musician Todd Rundgren, although with a different meaning. [13] It was also used in the Rolling Stone Album Guide to name a style roughly corresponding to "avant-rock" or "out-rock". [12] The earliest use of the term cited by Reynolds dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before an art form." [12] 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". [14]

Characteristics

Post-rock group Sigur Ros performing at a 2005 concert in Reykjavik Reykjavik05a-01.jpg
Post-rock group Sigur Rós performing at a 2005 concert in Reykjavík

Post-rock incorporates stylings and traits from a variety of musical genres and scenes, including krautrock, ambient, [15] psychedelia, [15] prog rock, space rock, math rock, tape music and other experimental recording techniques, minimalist classical, British IDM, jazz (both avant-garde and cool), and dub, [3] as well as post-punk, free jazz, contemporary classical, and avant-garde electronica. [16] It can also bear similarities to drone music, and usage of drones in psychedelic rock. [17] [3] Early post-rock groups often exhibited strong influence from the krautrock of the 1970s, particularly borrowing elements of the "motorik", the characteristic krautrock rhythm. [3] [18] [19] [20]

Post-rock compositions can 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 who were acknowledged influences on bands in the first wave of post-rock. [18] Post-rock pieces can be lengthy and instrumental, containing repetitive build-ups of timbres, dynamics and textures. [5] 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, and have abstract or impersonal lyrics. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic" ("Vonlenska" in Icelandic), which they described as "a form of gibberish vocals that fits to the music and acts as another instrument." [21]

Often, in lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his essay "Post-Rock" from Audio Culture that "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". [22] Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are manipulated, stretched and looped.

History

Forerunners

The Velvet Underground and their "dronology" have been referred to as "a term that loosely describes fifty percent of today's post rock activity." [23] Other precursors include Faust, Neu! and Can who influenced Stereolab [24] and Mogwai. [25] [26]

This Heat, which formed in 1976, are regarded as having predated the genre, while also being credited as an influence on bands in the first wave of post-rock. [27] [28] [29] Their music has been compared directly to Slint, Swans and Stereolab. [27]

Stylus Magazine noted that David Bowie's 1977 album Low would have been considered post-rock if released twenty years later [30] while Louder cited the English art punk band Wire as "the genre's godfathers," highlighting their 1979 studio album 154 as an early precursor that signposted the beginning of post-rock. [31]

British post-punk band Public Image Ltd (PiL) were also pioneers, described by the NME [32] 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 that "rock is obsolete". [33]

1990s: first wave

First wave post-rock group Stereolab performing at a 1994 concert Stereolab (1994).jpg
First wave post-rock group Stereolab performing at a 1994 concert

The term post-rock was first used to describe the eclectic, electronica-tinged rock-adjacent indie music of English bands such as Stereolab, [34] Laika, [35] Disco Inferno, [36] Moonshake, [37] Seefeel, [6] Bark Psychosis, Pram and Insides, [5] many of which began in post-punk and shoegaze roots; these were largely deemed post-rock as such in Reynolds' music journalism. [5] Bands from the early 1990s such as Slint (with Spiderland ) or, earlier, Talk Talk (with Laughing Stock ), were recognized as influential on post-rock by later music critics. [6] Despite marked differences between the two bands, with 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. [6] [3]

Groups such as Tortoise and Cul de Sac, as well as more ambient-oriented bands from the Kranky label like Labradford, Bowery Electric, and Stars of the Lid, are often cited as foundational to the American first wave of post-rock, especially in the Chicago scene. [38] The second Tortoise album, Millions Now Living Will Never Die, made the band a post-rock icon, [6] [39] with bands such as Do Make Say Think beginning to record music inspired by the "Tortoise-sound". [40]

In the late 1990s, Chicago was the home of a variety of acts associated with post-rock. John McEntire of Tortoise and Jim O'Rourke of Gastr Del Sol were important for many of these groups, with them both also producing multiple albums by Stereolab in the 1990s and 2000s. [41] One of the most eminent post-rock locales became Montreal, where Godspeed You! Black Emperor and related groups, including Silver Mt. Zion and Fly Pan Am, released music on Constellation Records; [42] these groups are generally characterized by a melancholy and crescendo-driven style rooted in, among other genres, chamber music, musique concrète techniques and free jazz influences. [18] In 2000, Radiohead released the studio album Kid A , marking a significant turning point in their musical style, with Reynolds describing it and the 2001 follow-up album Amnesiac as major examples of post-rock in the style that had been established by the first wave, also showing the style making a mainstream breakthrough. [43] [44]

2000s–2010s: second and third waves

Post-rock group Mogwai performing at a 2007 concert Mogwai-799171169.jpg
Post-rock group Mogwai performing at a 2007 concert

In the early 2000s, the term became divisive with both music critics and musicians, with it being seen at the time as falling out of favor. [45] 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, [46] [47] Tortoise, [45] and Mogwai, [9] rejected the label. The wide range of styles covered by the term, they and others have claimed, robbed it of its individuality. [48]

As part of the second wave of post-rock, the bands Godspeed You! Black Emperor, Sigur Rós, Mogwai, Explosions in the Sky, 65daysofstatic, This Will Destroy You, Do Make Say Think, and Mono became some of the more popular post-rock acts of the new millennium. [49] Sigur Rós, with the release of Ágætis byrjun in 1999, became among the most well known post-rock bands of the 2000s due to the use of many of their tracks, particularly their 2005 single "Hoppípolla", in TV soundtracks and film trailers. These bands' popularity was attributed to a move towards a more conventional rock oriented sound with simpler song structures and increasing utilization of pop hooks, also being regarded as a new atmospheric style of indie rock. [50]

Following a 13-year hiatus, experimental rock band Swans, who had been regarded as influencing post-rock, began releasing a number of albums that were described as post-rock, most notably To Be Kind which was acclaimed by AllMusic at the end of 2014. [51]

Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Isis, Russian Circles, Palms, Deftones, and Pelican fused metal with post-rock styles, with the resulting sound being 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. [52] 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. [53] 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.

See also

Related Research Articles

<span class="mw-page-title-main">Stereolab</span> English-French avant-pop band

Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's sound features influences from krautrock and 1960s French pop music, often incorporating a repetitive motorik beat with the use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist art movements. While performing, they play in a more feedback-driven and guitar-oriented style. From the mid-1990s, the band began to draw from funk, jazz and Brazilian music.

Gothic rock is a style of rock music that emerged from post-punk in the United Kingdom in the late 1970s. The first post-punk bands which shifted toward dark music with gothic overtones include Siouxsie and the Banshees, Joy Division, Bauhaus, and the Cure.

<span class="mw-page-title-main">Industrial rock</span> Music genre

Industrial rock is a fusion genre that fuses industrial music and rock music. It initially originated in the 1970s, and drew influence from early experimental and industrial acts such as Throbbing Gristle, Einstürzende Neubauten and Chrome. Industrial rock became more prominent in the 1980s with the success of artists such as Killing Joke, Swans, and partially Skinny Puppy, and later spawned the offshoot genre known as industrial metal. The genre was made more accessible to mainstream audiences in the 1990s with the aid of acts such as Nine Inch Nails and Marilyn Manson, both of which have released platinum-selling records.

Alternative rock is a category of rock music that evolved from the independent music underground of the 1970s. Alternative rock acts achieved mainstream success in the 1990s with the likes of the grunge subgenre in the United States, and the Britpop and shoegaze subgenres in the United Kingdom and Ireland. During this period, many record labels were looking for "alternatives", as many corporate rock, hard rock, and glam metal acts from the 1980s were beginning to grow stale throughout the music industry. The emergence of Generation X as a cultural force in the 1990s also contributed greatly to the rise of alternative rock.

Shoegaze is a subgenre of indie and alternative rock characterized by its ethereal mixture of obscured vocals, guitar distortion and effects, feedback, and overwhelming volume. It emerged in Ireland and the United Kingdom in the late 1980s among neo-psychedelic groups who usually stood motionless during live performances in a detached, non-confrontational state. The name comes from the heavy use of effects pedals, as the performers were often looking down at their pedals during concerts.

<span class="mw-page-title-main">Tortoise (band)</span> American post-rock band

Tortoise is an American post-rock band formed in Chicago, Illinois in 1990. The band incorporates krautrock, dub, minimal music, electronica and jazz into their music, and their eclectic style has left a great influence on the post-rock genre. Tortoise have been consistently credited for the rise of the post-rock movement in the 1990s.

<span class="mw-page-title-main">Can (band)</span> German experimental rock band

Can were a German experimental rock band formed in Cologne in 1968 by Holger Czukay, Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). They featured several vocalists, including the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). They have been hailed as pioneers of the German krautrock scene.

Krautrock is a broad genre of experimental rock that developed in West Germany in the late 1960s and early 1970s. It originated among artists who blended 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.

<span class="mw-page-title-main">Slint</span> American rock band

Slint was an American rock band from Louisville, Kentucky, formed in 1986, after the dissolution of two local bands, Squirrel Bait and Maurice. The band consisted of Brian McMahan, David Pajo (guitar), Britt Walford, Todd Brashear, and Ethan Buckler. Though little known during their original run, they have retrospectively gained a cult following and critical acclaim as one of the pioneers of post-rock and math rock.

<i>Spiderland</i> 1991 studio album by Slint

Spiderland is the second and final studio album by the American rock band Slint. It was released by Touch and Go Records on March 27, 1991. Slint's lineup at the time of recording comprised Brian McMahan on vocals and guitar, David Pajo on guitar, Todd Brashear on bass guitar and Britt Walford on drums. Spiderland was engineered by Brian Paulson and recorded over four days in August 1990. The music and vocal melodies were composed throughout the summer of 1990, while lyrics were written in-studio.

Motorik is the 4/4 beat often used by, and heavily associated with, krautrock bands. Coined by music journalists, the term is German for "motor skill". The motorik beat was pioneered by Jaki Liebezeit, drummer with German experimental rock band Can. Klaus Dinger of Neu!, another early pioneer of motorik, later called it the "Apache beat". The motorik beat is heard in one section of Kraftwerk's "Autobahn", a song composed to convey the feeling of driving on the German highway. It is heard throughout Neu!'s "Hallogallo", from their self-titled album Neu!, and used on all subsequent Neu! albums with differing tempos and variations.

<span class="mw-page-title-main">David Pajo</span> American musician (born 1968)

David Pajo is an American musician. He has played a wide variety of music, loosely fitting into several other genres such as hardcore punk, math rock, post-rock, electronica, folk rock and indie pop. Though a multi-instrumentalist, he is best known for his guitar work, most notably with Slint. He is currently a member of Gang of Four and musician at large.

<span class="mw-page-title-main">Mogwai</span> Scottish post-rock band

Mogwai are a Scottish post-rock band, formed in 1995 in Glasgow. The band consists of Stuart Braithwaite, Barry Burns, Dominic Aitchison, and Martin Bulloch (drums). Mogwai typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects.

Post-metal is a music genre rooted in heavy metal but exploring approaches beyond metal conventions. It emerged in the 1990s with bands such as Neurosis and Godflesh, who transformed metal texture through experimental composition. In a way similar to the predecessor genres post-rock and post-hardcore, post-metal offsets the darkness and intensity of extreme metal with an emphasis on atmosphere, emotion, and even "revelation", developing an expansive but introspective sound variously imbued with elements of ambient, noise, psychedelic, progressive, and classical music, and often shoegaze and art rock. Songs are typically long, with loose and layered structures that discard the verse–chorus form in favor of crescendos and repeating themes. The sound centres on guitars and drums, while any vocals are often but not always screamed or growled and resemble an additional instrument.

Allá is a rock band formed by three young Chicanos (Mexican-Americans) from Chicago: Jorge Ledezma, his brother Angel Ledezma (drums) and Lupe Martinez. As inspired by German krautrock, '60s pop productions and electronica as by Mexican trio music and Brazilian Tropicalia, they aim at producing a kind of psychedelic Latin pop/rock. The band members previously collaborated in an instrumental band called Defender, and the Ledezma brothers have played with former Can singer Damo Suzuki.

Ganger were a post rock band from Glasgow, Scotland, with members who also played with Bis, Aereogramme, and Fukuyama.

Post-punk is a broad genre of music that emerged in 1977 in the wake of punk rock. Post-punk musicians departed from punk's fundamental elements and raw simplicity, instead adopting a broader, more experimental approach that encompassed a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and do it yourself ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.

<i>Come On Die Young</i> 1999 studio album by Mogwai

Come On Die Young is the second studio album by Scottish post-rock band Mogwai. The album was released on 29 March 1999 by Chemikal Underground.

Electronic rock is a music genre that involves a combination of rock music and electronic music, featuring instruments typically found within both genres. It originates from the late 1960s when rock bands began incorporating electronic instrumentation into their music. Electronic rock acts usually fuse elements from other music styles, including punk rock, industrial rock, hip hop, techno and synth-pop, which has helped spur subgenres such as indietronica, dance-punk and electroclash.

Avant-funk is a music style in which artists combine funk or disco rhythms with an avant-garde or art rock mentality. Its most prominent era occurred in the late 1970s and 1980s among post-punk and no wave acts who embraced black dance music.

References

  1. ↑ Howells, Tom (5 October 2015). "Blackgaze: meet the bands taking black metal out of the shadows". The Guardian. Archived from the original on 17 October 2015. Retrieved 28 September 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 (3 April 2012). "Dreamlab: The Semantics of Post-Rock". Consequence of Sound . Retrieved 28 September 2017.[ permanent dead link ]
  3. 1 2 3 4 5 6 7 8 9 10 11 12 "Post-Rock". AllMusic . Archived from the original on 1 April 2020. Retrieved 28 September 2017.
  4. ↑ Everett True (6 October 2017). "Bark Pychosis". Classic Rock. Archived from the original on 12 January 2018. Retrieved 12 January 2018– via PressReader.
  5. 1 2 3 4 5 Reynolds, Simon (May 1994). "S. T." The Wire. Archived from the original on 2 December 2001. Retrieved 8 July 2007.
  6. 1 2 3 4 5 6 7 Abebe, Nitsuh (11 July 2005). "The Lost Generation" (PDF). Pitchfork Media. Archived (PDF) from the original on 15 August 2017. Retrieved 28 September 2017.
  7. ↑ "Ambient Pop". AllMusic . Archived from the original on 18 July 2017. Retrieved 11 February 2024.
  8. ↑ Reynolds, Simon (March 1994). "Bark Psychosis: Hex". Mojo . Archived from the original on 16 September 2012. Retrieved 8 July 2008.
  9. 1 2 Redfern, Mark (2001). "A Conversation with Mogwai's Dominic Aitchison". Under the Radar . Archived from the original on 12 February 2003. Retrieved 28 November 2006.
  10. 1 2 Reynolds, Simon. "From Rapture to Rupt: The Journey of Seefeel". Warp. Archived from the original on 20 January 2022. Retrieved 23 May 2021.
  11. ↑ "The Wire 20". The Wire. November 2002. Archived from the original on 17 August 2004. Retrieved 8 July 2008.
  12. 1 2 3 4 Reynolds, Simon (14 July 2005). "S. T." blissblog. Archived from the original on 31 March 2022. Retrieved 28 November 2006.
  13. ↑ Wolcott, James (July 1975). "Todd Rundgren – Street Punk in Self-Imposed Exile". Creem . Archived from the original on 14 October 2007. Retrieved 8 July 2008.
  14. ↑ Walker, Steven (April 1992). "S. T." Juke. Archived from the original on 16 June 2019. Retrieved 28 September 2017.
  15. 1 2 Wiederhorn, Jon (4 August 2016). "A Brief History of Post-Metal". Bandcamp. Archived from the original on 20 May 2017. Retrieved 14 November 2017.
  16. ↑ Heller, Jason (20 June 2013). "Picking a path through the nebulous terrain of post-rock". The A.V. Club . Archived from the original on 15 May 2017. Retrieved 28 September 2017.
  17. ↑ 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)
  18. 1 2 3 Henderson, Keith (June 2001). "What Exactly Comes After Post-rock?". Aural Innovations. Archived from the original on 15 December 2007. Retrieved 28 September 2017.
  19. ↑ Hacker, Scot (July 1996). "The Post-Rock Phenomenon". Utne Reader. Archived from the original on 20 January 2011. Retrieved 28 September 2017.
  20. ↑ Tweney, Chris (May 1997). "What You Need to Know About Electronica". The Net Net. Archived from the original on 11 February 2007. Retrieved 28 September 2007.
  21. ↑ "Sigur Ros frequently asked questions". Eighteen Seconds Before Sunrise. Archived from the original on 13 March 2009. Retrieved 28 September 2017.
  22. ↑ Reynolds, Simon (2004). Cox, Christoph; Warner, Daniel (eds.). Audio Culture: Readings in Modern Music. New York: Continuum. ISBN   978-0-8264-1615-5.
  23. ↑ Reynolds, Simon (2007). Cox, Cristoph and Daniel Warner (ed.). Audio Culture: Readings in Modern Music. Continuum International. p. 359. ISBN   978-0-8264-1615-5. Post-rock has its own sporadic but extensive history, which [post-rockers] draw on as much for the suggestiveness of its unrealized possibilities as for actual achievements. In terms of electric guitar, the key lineage runs from the Velvet Underground, through Germany's kosmic rock (Can, Faust, Neu!, Cluster, et al.) and the guitar-loop mosaics of Eno and Fripp, to late-1980s neopsychedelics as Jesus & Mary Chain, Spacemen 3, and A.R. Kane. 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.
  24. ↑ Klein, Joshua (29 August 2001). "What the Bleep? Stereolab Does Some Actual Tunes". The Washington Post. Archived from the original on 12 January 2021. Retrieved 10 October 2019.
  25. ↑ "A Brief History of Post-Rock". The Thin Air. 14 August 2014. Retrieved 6 December 2024.
  26. ↑ "NEU! 50th Anniversary Tribute Album Features The National, Mogwai, Guerilla Toss". Stereogum. 8 June 2022. Retrieved 6 December 2024.
  27. 1 2 Philip Sherburne (26 January 2016). "This Heat: This Heat/Health and Efficiency/Deceit Album Review". Pitchfork. Archived from the original on 26 January 2016. Retrieved 28 September 2017.
  28. ↑ "This Heat: the band who came in from the cold|Irish Times". The Irish Times . Archived from the original on 3 December 2020. Retrieved 30 October 2019.
  29. ↑ "This Heat - This Heat - Songs, Reviews, Credits". AllMusic. Archived from the original on 29 September 2017. Retrieved 28 September 2017.
  30. ↑ "Top Ten Albums on Which the Sequencing Is Lost on CD - Staff Top 10". Stylus Magazine. Archived from the original on 10 May 2012. Retrieved 28 September 2017.
  31. ↑ updated, Jerry Ewinglast (14 October 2022). "10 post-rock albums you should definitely own". louder. Retrieved 6 December 2024.
  32. ↑ "NME Reviews: Plastic Box". NME. 11 January 1999. Archived from the original on 10 June 2008. Retrieved 8 July 2008.
  33. ↑ Reynolds, Simon (1 November 2007). "Heavy Metal". Frieze (111). Frieze Magazine. Archived from the original on 29 September 2017. Retrieved 28 September 2017.
  34. ↑ Ashlock, Jesse (27 August 2001). "Stereolab biography". Epitonic. Archived from the original on 27 September 2007. Retrieved 29 March 2007.
  35. ↑ Levy, Doug (24 September 2000). "Laika Kick Off U.S. Tour In Seattle". VH1.com. Archived from the original on 29 June 2011. Retrieved 8 July 2008.
  36. ↑ Acceturo, Jeanne (10 August 2001). "Disco Inferno biography". Epitonic. Archived from the original on 27 September 2007. Retrieved 29 March 2007.
  37. ↑ Wilmoth, Charlie (26 January 2004). "Dusted Reviews review of Minamo — Beautiful". Dusted Magazine. Archived from the original on 11 November 2009. Retrieved 29 March 2007.
  38. ↑ Reynolds, Simon (November 1995). "Back to the Future". The Wire. 141: 26–30.
  39. ↑ Buchan, Phillip (13 April 2004). "Tortoise — It's All Around You". Splendid Magazine. Archived from the original on 30 September 2007. Retrieved 29 March 2007.
  40. ↑ "Do Make Say Think — And Yet review". Textura. February 2003. Archived from the original on 3 March 2016. Retrieved 28 September 2017.
  41. ↑ P. Buckley, The Rough Guide to Rock, (Rough Guides, 1999), ISBN   1858284570, P. 913
  42. ↑ Weinberger, Ian (19 November 2002). "Post-rock: a movement of the 90s still kickin'". McGill Tribune. Archived from the original on 28 September 2007. Retrieved 29 March 2007.
  43. ↑ Simon Reynolds (2 October 2015). "Classic Reviews: Radiohead, 'Kid A'". Spin. Archived from the original on 19 January 2017. Retrieved 21 January 2017.
  44. ↑ Reynolds, Simon (October 2000). "Radio Chaos". Spin. Archived from the original on 27 September 2007. Retrieved 23 April 2007.
  45. 1 2 Hutlock, Todd (1 September 2006). "Review of Tortoise's A Lazarus Taxon". Stylus Magazine. Archived from the original on 17 September 2006. Retrieved 28 November 2006.
  46. ↑ "Cul de Sac Interview". Archived from the original on 24 December 2017. Retrieved 28 September 2017.
  47. ↑ Lang, Dave (March 1998). "Interview with Cul de Sac's Glenn Jones". Perfect Sound Forever. Archived from the original on 8 December 2006. Retrieved 29 November 2006.
  48. ↑ Richardson, Derk (12 May 2005). "Hear & Now". San Francisco Gate. Archived from the original on 27 November 2011. Retrieved 28 September 2017.
  49. ↑ Babbili, Laura (15 March 2007). "Bang On: Explosions in the Sky". Gigwise. Archived from the original on 12 May 2014. Retrieved 9 March 2007.
  50. ↑ Allmusic review: Sigur Rós – Með suð í eyrum við spilum endalaust
  51. ↑ "Favorite Indie Pop and Indie Rock Albums|AllMusic 2014 in Review". AllMusic . Archived from the original on 28 March 2019. Retrieved 30 October 2019.
  52. ↑ Caramanica, Jon (20 September 2005). "The Alchemy of Art-World Heavy Metal". The New York Times. Archived from the original on 18 February 2018. Retrieved 28 September 2017.
  53. ↑ Tsarfin, Zena. "Altar of Plagues". Decibel Magazine. Red Flag Media. Archived from the original on 6 February 2010. Retrieved 10 March 2014.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.