Post-rock

Post-rock is a form of experimental rock^[3] characterized by a focus on exploring textures and timbres, as well as non-rock styles, with less emphasis on conventional song structures or riffs.^[4] Post-rock artists typically combine rock instrumentation with electronics.^[5][6][3] The genre emerged within the indie and underground music scene of the 1980s and early 1990s. However, due to its abandonment of rock conventions, it began to increasingly show little resemblance musically to conventional indie rock at the time,^[6] borrowing instead from diverse sources including ambient, electronica, jazz, krautrock, dub, and minimalist classical,^[3] with these influences also being pivotal for the style of ambient pop.^[7]

While being from separate scenes in the United Kingdom and the United States, artists such as Talk Talk and Slint have been credited with producing foundational works in the style in the early 1990s.^[3][6] The term "post-rock" was notably employed by journalist Simon Reynolds in a review of the 1994 Bark Psychosis album Hex, with it being regarded as stylistically solidifying with the acclaimed release of Tortoise's 1996 album Millions Now Living Will Never Die.^[3] The term has since been used to describe bands which differ widely in style, making the term controversial among listeners and artists alike.^[8]