Post-rock?

But post-rock cannot be identified and classified exclusively by its stylistic constants: it has many discourses, and all kinds of audiences. This may explain why the term is often thrown around without much thought, and why it is often conceptualised simply according to the subjectivity of the person using it. There are those who want to see it as the recuperation of the essences of seventies German rock, a return to progressive rock, while others celebrate the (apparent) surrender of guitars to the (apparently) infinite possibilities of the electronic medium. Some even connect it to the post-punk of the early eighties through the influence of Jamaican music. In reality all of them —and none of them— are right. In its essence, post-rock is actually defined by what it is not: traditional, pre-codified, easy to consume.

More futurist than postmodern, but not very belligerent and thus without the media impact required for commercial success, post-rock developed on the margins of the market and uses the same circuits as many of the other stylistic fragmentations of the «alternative» scene. All in all, if something can be called ‘post-rock’, it is an attitude: in favour of singularity and curiosity, of the freedom to choose aesthetically and of experimentation outside of dogmas and canons.