Post-rock

Post-Rock es un término que fue usado por primera vez por Simon Reynolds en una edición de la revista The Wire (en mayo de 1994) para describir el sonido de algunas bandas de rock que utilizan instrumentos propios del rock, pero incorporando ritmos, armonías, melodías, timbres y progresiones armónicas que no se encuentran dentro de la tradición del género. La mayoría de sus bandas producen música puramente instrumental, no todas. Sin embargo, muchos sostienen que el uso del término no es adecuado: por ejemplo, se usa para hablar de la música de Tortoise al igual que la de Mogwai, dos bandas que tienen poco en común (salvo que su música es principalmente instrumental).
http://es.wikipedia.org/wiki/Post-rock

Cita de BlueOrange

De Post-Hardcore la verdad es que no conozco nada ni sé qué buscar. Será cuestión de dedicarle algo de tiempo.

Salu2.

Cita de Winnfield

God is an astronaut, Explosions in the sky y Goodspeed you black emperor me gustan lo poco que he ido escuchando aunque no he profundizado nunca demasiado en el género.

Cita de garciamendoza

un poco viejo el hilo

Paris is one of most imaginary places on the planet. Whether or not you’ve even step foot in the city, the name alone stuffs your head with images of high culture, pacifism, or ostentatious flamboyancy. Following suit, the instrumental music scene is about as varied as the stereotypical images we project on their culture, from electronic smoothie makers M83 to the orchestrated metal of Don’t Look Back. While the two aforementioned bands, among a grid of others, produce a sound eclectic and offbeat in nature, All Angels Gone venture down a path that defines the sweet, dark underbelly of Parisian culture perfectly—at least for this writer— your typical American music snob.

The latter biographical statement is reinforced with an anchor given the only words readable on the band’s website are: Sigur Ros, Radiohead, and Godspeed You! Black Emperor. While those names alone may be enough to induce orgasm for some instrumental philanderers out there who whack to reverb, it unfortunately silenced the little tune I had going with my skin flute; witnessing those monsters of post-rock slapped together as influences is a complete turn off for someone looking to experience something “original”.Fortunately for my senses, but not for my vanity, my pigeonholing was pecked to bits.

Regardless of stated influences, the band’s newest EP, Quietly, manages to build a pyramid of vaporous and pneumatic melodies on a foundation constructed by the above bands, but refined by the more airy, ritualistic craftsmanship of My Blood Valentine and Dead Can Dance. We are engulfed immediately by “Unrelated”, a gypsy-laden piece chaperoned by female vocals (in English) that saunter across a tight rope of string work with intimacy, but breathe with breadth so commanding you’re enticed to misstep and plummet into the net they create below. The track twists, turns and eventually snaps with poise, gusting into a chorus that loses some of its lyrical strength but still subtly enfolds you with its instrumental nerve.

Without pause, the Icelandic vocal gyrations of Sigur Ros get a staggering French makeover on “Wave”, as piano and percussion bathe in falsetto heights that are so sadly epic they render the listener utterly vulnerable. This is music crafted for a confessional… or a virgin’s bedroom boom box as he cops his first feel among lit candles and patchouli incense. Either way, it’s emotionally volcanic.

Despite the strength of the first two tracks, the EP takes a sidestep on “Empty Cars on the Road,” a song that retains the album’s inherent darkness, but veers slightly in a different direction. Exhibiting full-on female vocals cascading over speedy melodies almost a bit too alternative, (think metal act Lacuna Coil) the five minute length feels out of place when wedged between the remaining four tracks. Regardless, things pick up some ethereal steam halfway through with a shivery instrumental passage that fades into a bleak, solemn quietude, leading us back where we came from.

The last two tracks of the EP, “Others a Mirror” and “Stephen H.”, an epic 14 minute venture into the bones of post-rock ancestors and a classical, Anoice-like piece respectively, are what leaves the listener with the name All Angels Gone burning in their ears and floating on their tongue. Without launching into an essay burdened with sexual analogies and sound-a-like comparisons, these final songs can best be described as shadowy figures on a wall, swaying and swelling to the impulses set upon them by some unknown force in the universe. Much like your own breath, these songs are subtle and delicate, but ultimately beautiful when inflamed with life or anguish, and ultimately tragic as they swirl to an end.

Things have gone off track here. How the hell is patchouli and tight rope walking Parisian? Good question. Perhaps it’s not so much the brooding, draughty French influence that was heard in these songs. More than anything it’s that foreign and mysterious element that surrounds the entire EP like a full-body halo. A vibe that pricks your senses again and again until you no longer know its source but are enamored by its touch, Quietly paralyzes its own ambience from the get-go like a cryogenic music madman who lives on dreams of lost love and unquenched hope. Sad? Yes. But the need for happiness doesn’t even seem to exist after these five songs are through moving you.

-Jonathan Brooks
http://www.thesilentballet.com/dnn/R...4/Default.aspx
-12/2/2006

Cita de BlueOrange

Quiero hacer una mención a parte para la banda francesa All Angels Gone, su segundo disco Quietly,que junto con el conjunto islandés Sigur Rós es el grupo que más me ha impactado. No deben ser muy conocidos ya que apenas hay información suya en internet aunque tienen un interesante artículo en thesilentballet.com escrito en 2006 por un tal Jonathan Brooks. Hago un copy-paste:

Cuelgo su segundo disco:

Sólo falta unos vídeos de muestra para hacer una primera escucha del disco en cuestió. El tercer vídeo lo subí yo mismo hará un par de semanas.

Cita de xkroto

Post-rock es un término que fue usado por primera vez por Simon Reynolds en una edición de la revista The Wire (en mayo de 1994)




Con miedo al fail digo que el rock es por lo menos de los 50' .

¿Te suena de algo un tal Elvis Presley?