Yeah after seeing this thread yeasterday I watched it last night. I really want to visit iceland. If you want to listen to some serious ambiant music check out the soundtrack to the movie Angels of the Universe.
Did anyone listen to the canadian band SIANspheric back in the day? I guess they would fall into this catagory.
I also like boards of canada, ratatat, GY!BE, mogwai, Beiruit, and KC Accidental to name a few
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'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it means just what I choose it to mean — neither more nor less.'
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Originally Posted by Icon
dear god is he 14?
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Did you seriously just post a Jeff Buckley clip in this post rock thread?
You may want to understand the genre before you go and make a fool of yourself.
Most of the vids on the first page reminded me of jeff buckley in terms of mood, style, structure and timbre. I think the genre carries his stamp pretty clearly.
Yeah after seeing this thread yeasterday I watched it last night. I really want to visit iceland. If you want to listen to some serious ambiant music check out the soundtrack to the movie Angels of the Universe.
Did anyone listen to the canadian band SIANspheric back in the day? I guess they would fall into this catagory.
I also like boards of canada, ratatat, GY!BE, mogwai, Beiruit, and KC Accidental to name a few
I totally agree with you on wanting to visit Iceland. TVoTR is pretty awesome, as both of their CD's kick some serious ass. Sigur Ros's stuff is always good for a listen, be it cloudy, sunny, or in a sad or happy mood.
The rumors of rock's death are greatly exaggerated. - Mark Twain
I have seen the otherside, and it is pretty good. Doesnt mean that I dont live in both worlds.
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'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it means just what I choose it to mean — neither more nor less.'
Post-rock was the dominant form of experimental rock during the '90s, a loose movement that drew from greatly varied influences and nearly always combined standard rock instrumentation with electronics. Post-rock brought together a host of mostly experimental genres — Kraut-rock, ambient, prog-rock, space rock, math rock, tape music, minimalist classical, British IDM, jazz (both avant-garde and cool), and dub reggae, to name the most prevalent — with results that were largely based in rock, but didn't rock per se. Post-rock was hypnotic and often droning (especially the guitar-oriented bands), and the brighter-sounding groups were still cool and cerebral — overall, the antithesis of rock's visceral power. In fact, post-rock was something of a reaction against rock, particularly the mainstream's co-opting of alternative rock; much post-rock was united by a sense that rock & roll had lost its capacity for real rebellion, that it would never break away from tired formulas or empty, macho posturing. Thus, post-rock rejected (or subverted) any elements it associated with rock tradition. It was far more concerned with pure sound and texture than melodic hooks or song structure; it was also usually instrumental, and if it did employ vocals, they were often incidental to the overall effect. The musical foundation for post-rock crystallized in 1991, with the release of two very different landmarks: Talk Talk's Laughing Stock and Slint's Spiderland. Laughing Stock was the culmination of Talk Talk's move away from synth-pop toward a moody, delicate fusion of ambient, jazz, and minimalist chamber music; Spiderland, meanwhile, was full of deliberate, bass-driven grooves, mumbled poetry, oblique structures, and extreme volume shifts. While those two albums would influence many future post-rock bands, the term itself didn't appear until critic Simon Reynolds coined it as a way to describe the Talk Talk-inspired ambient experiments of Bark Psychosis. The term was later applied to everything from unclassifiable iconoclasts (Gastr del Sol, Cul de Sac, Main) to more tuneful indie-rock experimenters like Stereolab, Laika, and the Sea and Cake (not to mention a raft of Slint imitators). Post-rock came into its own as a recognizable trend with the Chicago band Tortoise's second album, 1996's Millions Now Living Will Never Die, perhaps the farthest-reaching fusion of post-rock's myriad touchstones. Suddenly there was a way for critics to classify artists as diverse as Labradford, Trans Am, Ui, Flying Saucer Attack, Mogwai, Jim O'Rourke, and their predecessors (though most hated the label). Post-rock quickly became an accepted, challenging cousin of indie rock, centered around the Thrill Jockey, Kranky, Drag City, and Too Pure labels. Ironically, by the end of the decade, post-rock had itself acquired a reputation for sameness; some found the style's dispassionate intellectuality boring, while others felt that its formerly radical fusions had become predictable, partly because many artists were offering only slight variations on their original ideas. However, even as the backlash set in, a newer wave of bands (the Dirty Three, Rachel's, Godspeed You Black Emperor!, Sigur Rós) gained wider recognition for their distinctive sounds, suggesting that the style wasn't exhausted after all.
Had to add a few bands to the list (i dont know if these are the official videos for the songs or not):
The Antlers
I just bought their album and I really like this song.
The Antlers - Kettering
These might be more ambient electronic, or synthpop but I dont care and want to add them also as I think they are cool.
Washed Out - New Theory
Memory Cassette - Surfin
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'When I use a word,' Humpty Dumpty said, in rather a scornful tone, 'it means just what I choose it to mean — neither more nor less.'
Fall Of Efrafa's last release had some post rock elements in it. The whole song is around 16 minutes long and its amazing, but my favorite part of the song starts around halfway through the song, right at the start of this video.
So from the allmusic article that Troutman quoted, is the use of classic rock-band instrumentation the only thing that makes this "post-rock"? In what way does it extend or build upon a rock underpinning that would allow one to append "-rock" to the description?
Not trying to knock it, I just don't see the connection from the limited sample set provided in this thread...Like how could you come to this music from a rock listening/fan/playing background, I guess is what I'm asking. For me, learning to play rock guitar has opened many doors, blues, jazz, and country included, but this seems quite a step beyond that.
