Ongoing History of New Music — "What Exactly is Post Rock? Part 2"

Host: Alan Cross
Date: January 28, 2026
Podcast: Ongoing History of New Music (Curiouscast)

Episode Overview

This episode continues Alan Cross's deep dive into the elusive and often-debated genre of post rock. Picking up where Part 1 left off, Alan explores seminal artists, international scenes, and the defining characteristics of post rock. He investigates whether post rock is a genre, an aesthetic, or simply a philosophy, highlighting its global reach and cross-pollination with other musical styles.

Main Themes and Purpose

• Defining Post Rock: Alan seeks to unravel what distinguishes post rock from other genres, arguing it's less about a fixed sound and more about an attitude or philosophy.
• Band Spotlights: The episode traces the development of post rock through key bands and albums from the 1990s through the 2000s, spanning the US, UK, Iceland, Japan, and Scandinavia.
• Hybridization: Alan examines how post rock intersects with shoegaze, math rock, ambient, post metal, and indie rock, showing its fluid boundaries and expansive influence.
• Global Reach: The show underscores post rock’s worldwide presence—pointing to regional differences, community sharing, and the diversity of expression.

Detailed Segment Breakdown & Key Insights

Introduction to “Post” Concepts in Music

[03:55]

• The word "post" signifies a step beyond an established movement (post-Cold War, postmodern, etc.).
• Quote: “Post rock is the answer to the question: what happens if rock instruments stop behaving like rock instruments?” — Alan Cross

The Roots and Philosophy of Post Rock

[06:30] – [09:25]

• Post rock is described as “still very much rock, but…different enough to make it stand outside what we would consider normal rock.”
• Not a strict genre, but an ongoing experiment where texture, structure, and attitude outweigh conventional song forms.

Tracing the Lineage: Foundational Bands

Slint

[10:00]

• Louisville’s Slint (formed 1986): pivotal in laying down post rock’s foundations.
• Alan shares Billy Corgan’s (Smashing Pumpkins) admiration:
  Quote: “Being in a band with a member of Slint was a dream come true.” — paraphrased from Billy Corgan
• Spiderland (1991) is the essential album.

Mogwai

[12:35]

• Glasgow’s Mogwai (1995–present): known for “long form instrumental pieces based around fuzzy guitars, melodic bass lines and plenty of dynamic contrast.”
• Influences: Joy Division, Sonic Youth, My Bloody Valentine, Fugazi, Kraftwerk, Nirvana, the Orb, Aphex Twin.
• Quote: “I think most people are not used to having no lyrics to focus on…when they can’t do that with us, they get a bit upset.” — Stuart Braithwaite, Mogwai leader
• Highlight: “Take Me Somewhere Nice” (2001), noted for its barely-there vocals.

Sigur Rós

[16:15]

• Iceland’s Sigur Rós (1994–present): described as “ethereal,” with lyrics often in Icelandic or gibberish (“Volenska” or “Hopelandic”).
• Influences: shoegaze (My Bloody Valentine, Ride), dream pop (Cocteau Twins, The Verve), Radiohead.
• Quote: “Sigur Rós…comes from the tradition of groups into shoegaze…very lovely, very soothing. It’s been described as cosmic and gentle. Pink Floyd, which I like.” — Alan Cross
• Highlight track: “Svefn-g-englar” (1999).

Explosions in the Sky

[20:30]

• Texas-based, instrumental, cinematic—best known for Friday Night Lights soundtrack.
• “Masters of the crescendo, yet they don’t forget to include hooks.”
• Mention of 9/11 conspiracy: their 2001 album Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever and the “this plane will crash tomorrow” guitar inscription.

Mono

[27:20]

• Pioneering Japanese post rock: “about precision…heavy on emotional impact.”
• Example: “Follow the Map” from Hymn to the Immortal Wind (2009), produced by Steve Albini.

Cult of Luna

[29:35]

• Swedish post rock/metal band, with distinctly melancholy, atmospheric style.
• Example: “Into the Night” (The Long Way North, 2022).

Defining Features of Post Rock

[32:00]

• Focus on experimentation with conventional rock tools.
• Emphasis on:
  • Texture and atmospherics
  • Dynamic ranges (whisper-quiet to overwhelming loudness)
  • Repetition of motifs
  • Often instrumental and cinematic
  • Regional differences (UK: spacey; Montreal/Chicago: political/intellectual; Texas: cinematic; Japan: precise and classical)

The Scene, Its Evolution, and Hybridization

[34:15 – 38:15]

• Post rock communities thrive via word of mouth, touring, Bandcamp, YouTube, Discord, etc.
• “Post rock has bled into other areas of rock.”
• Connection with shoegaze, math rock, ambient, post metal:
  • Shoegaze: More melody, buried in mix. Later Slowdive is “post rock.”
  • Math Rock: Precision, complex structures, unusual time signatures (post rock = more straightforward rhythms).
  • Ambient: “Ambient music drifts…Post rock takes you on a journey with a destination.”
  • Post Metal: Shares heaviness and mood but emphasizes riffs more.

Notable Quotation

[38:55]

• “If you are in a noisy guitar band it is really easy to become besotted with post rock. These groups experiment. That experimentation allows everyone else to pick up the ball and run with the best bits.” — Alan Cross

“Post Rock Adjacent” Acts

Broken Social Scene

[40:30]

• “Complex, with interesting textures, but a little softer around the edges… more swing…and more of a sense of humor and joy.”
• Not “pure post rock,” but “post rock adjacent.”
• Example: “7/4 (Shoreline)” from Broken Social Scene (2005).

Radiohead

[42:05]

• “If I had to point to the biggest post rock band, I’m going to have to go with Radiohead.”
• Cites the massive evolution from “Creep” to Kid A (2000)—“more atmospheric, cinematic, a sonic journey. It’s post rock.”

Summing Up

[44:45]

• “It’s not a scene or a sound. It’s an attitude, an aesthetic, a distinct musical philosophy…Some are more cinematic, some have jazz elements, we have the kraut rock followers and then there are a few who are almost indistinguishable from metal or modern prog rock or electronica.”
• Post rock “shows no sign of abating…some of those experiments will continue to trickle down to the rest of the rock world.”

Notable Artists and Further Listening

[46:00]

• Talk Talk
• Slint
• Bark Psychosis
• Tortoise
• Mogwai
• Stereolab
• Godspeed You! Black Emperor
• Sigur Rós
• Explosions in the Sky
• Mono
• This Will Destroy You
• God Is an Astronaut
• Russian Circles

Timestamps for Key Segments

• 03:55 — Defining “Post” in musical context
• 10:00 — The influence of Slint
• 12:35 — The Mogwai philosophy and example track
• 16:15 — Sigur Rós: Hopelandic and dreamy sound
• 20:30 — Explosions in the Sky, soundtrack and urban legends
• 27:20 — Mono and Japanese post rock’s precision
• 29:35 — Cult of Luna and Scandinavian melancholy
• 32:00 — Technical and regional characteristics of post rock
• 34:15 — Post rock as a network and its global spread
• 38:55 — The allure of post rock for guitar bands
• 40:30 — Broken Social Scene as post rock-adjacent
• 42:05 — Radiohead, evolution, and the post rock ethos
• 44:45 — Nature and future of post rock; summary and recommendations

Closing Thoughts

Alan Cross’s journey into post rock showcases the genre’s experimental spirit, international flavor, and porous sonic boundaries. It’s a vigorous call to step outside traditional definitions and embrace rock music that refuses to stay in its lane. For newcomers and die-hards alike, this episode offers a thorough, passionate guide to the ongoing evolution of post rock.

For deeper exploration, consider diving into the artist list above—Alan promises a non-danceable but fascinating musical ride.