Perhaps the really provocative area for future development lies. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, and Insides, Reynolds used the term to describe music 'using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords'. Reynolds expanded upon the idea later in the May 1994 issue of The Wire. The concept of 'post-rock' was developed by critic Simon Reynolds, who used the term in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. The term has since been used to describe bands which differ widely in style, making the term controversial among listeners and artists alike. It later solidified into a recognizable trend with the release of Tortoise's 1996 album Millions Now Living Will Never Die. The term post-rock itself was notably employed by journalist Simon Reynolds in a review of the 1994 Bark Psychosis album Hex. Īrtists such as Talk Talk and Slint have been credited with producing foundational works in the style in the early 1990s. However, due to its abandonment of rock conventions, it often bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient, electronica, jazz, krautrock, dub, and minimalist classical. The genre emerged within the indie and underground music scene of the 1980s and early 1990s. Post-rock artists are often instrumental, typically combining rock instrumentation with electronics. Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords, or riffs. Late 1980s and early 1990s, United Kingdom, Canada and United States

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