Editing Post-rock (section)

==Etymology==
The concept of "post-rock" was initially developed by Reynolds in the May 1994 issue of ''[[The Wire (magazine)|The Wire]]'' to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of [[timbre]] and textures rather than [[riff]]s and [[power chord]]s". He further expounded on the term that {{quote|[p]erhaps 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.<ref name="The Wire May 1994">{{cite web|url=http://www.thewire.co.uk/out/1297_4.htm|title=S. T.|publisher=[[The Wire (magazine)|The Wire]]|first=Simon|last=Reynolds|date=May 1994|access-date=8 July 2007|archive-url=https://web.archive.org/web/20011202075606/http://www.thewire.co.uk/out/1297_4.htm|archive-date=2 December 2001|url-status=dead}}</ref><ref name="The Wire 20">{{cite web|url=http://www.thewire.co.uk/about/history.html|title=The Wire 20|date=November 2002|access-date=8 July 2008|publisher=[[The Wire (magazine)|The Wire]]|archive-url=https://web.archive.org/web/20040817143035/http://www.thewire.co.uk/about/history.html|archive-date=17 August 2004|url-status=dead}}</ref>}}

Reynolds, in a July 2005 entry in his blog, said that he had used the concept of "post-rock" before using it in ''[[Mojo (magazine)|Mojo]]'', previously referring to it in a feature on Insides for music newspaper ''[[Melody Maker]]''.<ref name="blissblog">{{cite web|url=http://blissout.blogspot.com/2005_07_01_blissout_archive.html#112140209965630241|title=S. T.|first=Simon|last=Reynolds|date=14 July 2005|access-date=28 November 2006|publisher=blissblog|archive-date=31 March 2022|archive-url=https://web.archive.org/web/20220331081441/https://blissout.blogspot.com/2005_07_01_blissout_archive.html#112140209965630241|url-status=live}}</ref> He also said he later found the term not to be of his own coinage, writing in his blog "I discovered many years later it had been floating around for over a decade."<ref name="blissblog"/> In 2021, Reynolds reflected on the evolution of the style, saying that the term had developed in meaning during the 21st century, no longer referring to "left-field UK guitar groups engaged in a gradual process of abandoning songs [and exploring] texture, effects processing, and space," but instead coming to signify "epic and dramatic instrumental rock, not nearly as post- as it likes to think it is."<ref name="warp">{{cite web |last1=Reynolds |first1=Simon |title=From Rapture to Rupt: The Journey of Seefeel |url=https://warp.net/editorial/from-rapture-to-rupt-the-journey-of-seefeel |website=Warp |access-date=23 May 2021 |archive-date=20 January 2022 |archive-url=https://web.archive.org/web/20220120101925/https://warp.net/editorial/from-rapture-to-rupt-the-journey-of-seefeel |url-status=live }}</ref>

Earlier uses of the term include its employment in a 1975 article by American journalist [[James Wolcott]] about musician [[Todd Rundgren]], although with a different meaning.<ref name="Wolcott">{{cite magazine|url=http://toddstuff.home.comcast.net/articles/TR-creem-exile.html|title=Todd Rundgren – Street Punk in Self-Imposed Exile|first=James|last=Wolcott|date=July 1975|access-date=8 July 2008|magazine=[[Creem]]|archive-url=https://web.archive.org/web/20071014050723/http://toddstuff.home.comcast.net/articles/TR-creem-exile.html|archive-date=14 October 2007|url-status=dead}}</ref> It was also used in the ''[[Rolling Stone Album Guide]]'' to name a style roughly corresponding to "[[Experimental rock|avant-rock]]" or "out-rock".<ref name="blissblog"/> The earliest use of the term cited by Reynolds dates back as far as September 1967. In a ''[[Time (magazine)|Time]]'' cover story feature on [[the Beatles]], writer Christopher Porterfield hails the band and producer [[George Martin]]'s creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before an art form."<ref name="blissblog"/> Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in [[Melbourne]] music publication ''Juke'', where he describes a "post-rock noisefest".<ref name="Juke">{{cite web|url=http://www.suburbia.com.au/~snf/records/summersh/staceys.html|title=S. T.|first=Steven|last=Walker|date=April 1992|access-date=28 September 2017|publisher=Juke|archive-url=https://web.archive.org/web/20190616221432/https://www.suburbia.com.au/~snf/records/summersh/staceys.html|archive-date=16 June 2019|url-status=dead}}</ref>