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
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