... the iota kappa project...: ...the ethereal sunshine of a post-rock mind... - a rough guide to some of the best post-rock music ever composed

Πέμπτη 17 Δεκεμβρίου 2009

...the ethereal sunshine of a post-rock mind... - a rough guide to some of the best post-rock music ever composed

...the ethereal sunshine of a post-rock mind ... - a rough guide to some of the best post-rock music ever composed... --the first 25

... THE IOTA KAPPA PROJECT...

Mono & World's End Girlfriend - Palmless Prayer/Mass Murder Refrain "Trailer 5" [1/2]
Mono & World's End Girlfriend - Palmless Prayer/Mass Murder Refrain "Trailer 5" [2/2]
MONO & WORLD END'S GIRLFRIEND --1/25
MONO --- WORLD END's GIRLFRIEND

Tortoise - Millions Now Living Will Never Die "Glass Museum"(1996)
TORTOISE --2/25

Explosions in the sky - "First breath after coma"
EXPLOSIONS IN THE SKY --3/25

Giardini di mirò - Il Fuoco "La favilla 2" (2009)
GIARDINI DI MIRO --6/25

Blueneck - The Fallen Host "Low" (2009)
BLUENECK --8/25

Hammock - "Through A Glass Darkly" (2005)
HAMMOCK --14/25

Jakob - Solace "Oran Mor" (2006)
JAKOB --15/25

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"post-rock"... - - origin of the term

Origin of the term

The term "post-rock" is believed to have been coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of MOJO magazine. Reynolds expanded upon the idea later in the May 1994 issue of THE WIRE. He used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre & textures rather than riffs and power chords". He further expounded on the term, "perhaps the really provocative area for future development lies...in cyborg rock; not the wholehearted embrace of Techno's methodology, but some kind of interface between real time, hands-on playing and the use of digital effects and enhancement". Reynolds, in a July 2005 entry in his blog, claimed he had used the term "post-rock" before using it in MOJO, previously using it in music newspaper MELODY MAKER. He also said he later found the term to not be of his own creation, saying in his blog, "although I genuinely believed I was coining the term, I discovered many years later it had been floating around for over a decade."

--Wikipedia, in http://en.wikipedia.org/wiki/Post-rock

«Η ποίηση πρέπει να γίνεται απ’ όλους. Όχι από έναν.»
Λοτρεαμόν (1846–1870)

...το γένος (genre) της ποστ-ροκ (post-rock) έρχεται σε μια περίοδο επαναπρσοδιορισμού και δομικών μετασχηματισμών, για να υπενθυμίσει τη γοητεία της συλλογικής σύνθεσης, χωρίς να υποχωρεί η προσωπική συνεισφορά...
-----
... "Almost all post-rock music follows DIY conception, it means that groups do not have contacts with expensive labels, or producers and managers. They both record and distribute their albums by themselves . Sometimes more successful groups help others, sometimes they form conglomerates for co-operative release, but their music will never become accessible for commerce, because it will deprive them the spirit of freedom – the basic idea of the style.
Also we want to define one more important feature: post-rock is one of the most “subjective” style, that is everyone can see something in compositions special for him, and this opinion changes from person to person. The main thing is not to be obsessed with it and not to stay on one place, to experiment and maybe simple love this music, listen to it, to pass it trough your body, becoming for one moment the part of it".
reference: In "What is post-rock?", postrockeXchange.com

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... the iota kappa project...