found: Work cat.: Mogwai (Musical group). Hardcore will never die, but you will, p2011.
found: Sigur Rós (Musical group). Ágætis byrjun, p2000.
found: Smith, K.L. Encyclopedia of indie rock, 2008:Post-Rock (Post-rock is a highly experimental form of indie rock whose description sounds more like a jigsaw puzzle than a subgenre of music. Post-rockers take traditional rock sounds and foundations--guitar, bass, and drums--and mix them up in new creative ways to make groundbreaking new sounds. This so-called rock "instrumentation" means that post-rockers use all of the ingredients of traditional rock bands, but they create full sweeping chord progressions, rhythms, melodies, and harmonies. In other words, post-rockers are minimalists that create mostly instrumental pieces employing less commonly used instruments such as oboes, cellos, the piano, synthesizers, and such in their rock compositions. Post-rockers' music is actually not typically similar in sound to indie rock, but it is categorized as such for its experimental and DIY (Do-It-Yourself) nature. Post-rock music is also usually ambient and can also include acts from other subgenres such as shoegazing, space rock, art rock, and progressive rock movements. Post-rockers were also among the first acts to combine electronically generated and digitally made music with traditional rock instruments. Notable post-rock acts include Slint, Talk Talk, Flying Saucer Attack, Mogwai, Stereolab, Godspeed You Black Emperor, Cul de Sac, Tortoise, the beautiful, ethereal arrangments of the Rachel's, and Sigur Rós.)
found: Wikipedia, Aug. 25, 2015(Post-rock is a subgenre of rock music characterized by the influence and use of instruments commonly associated with rock, but using rhythms and "guitars as facilitators of timbre and textures" not traditionally found in rock. Post-rock bands are often without vocals. Mogwai, Slint, Don Caballero and Tortoise are among the more prominent bands described as post-rock, but their styles are very different, despite being instrumental bands centered on guitars and drums. As such, the term has been the subject of backlash from listeners and artists alike. Although firmly rooted in the indie or underground scene of the 1980s and early '90s, post-rock's style often bears little resemblance musically to that of contemporary indie rock. ... Today, despite criticism of the term, post-rock has maintained its prominence. Sigur Rós, with the release of Ágætis byrjun in 1999, became among the most well known post-rock bands of the 2000s.)
found: AllMusic website, Aug. 25, 2015(Pop/Rock > Alternative/Indie Rock > Post-Rock. 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. ... 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. ... 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.)
