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|cultural_origins = Late 1980s and early 1990s in United Kingdom, Canada and United States |instruments = |popularity = Low to moderate from 1980s to early 2000s, some bands with success in the mid to late 2000s. |regional_scenes = * Montreal * Iceland * Chicago * Louisville * Glasgow * Leicester * New Zealand |fusiongenres = Post-metal |other_topics = * Indie rock * math rock * post-hardcore }} Post-rock is a subgenre of rock music characterized by the influence and use of instruments commonly associated with rock, but using rhythms and "guitars as facilitators of timbre and textures" not traditionally found in rock. Post-rock bands are often without vocals.〔〔〔(【引用サイトリンク】title=Post-Rock )〕 Stereolab, Mogwai, Sigur Rós, Don Caballero and Tortoise are among the more prominent bands described as post-rock, but their styles are very different, despite being instrumental bands centered on guitars and drums. As such, the term has been the subject of backlash from listeners and artists alike. Although firmly rooted in the indie or underground scene of the 1980s and early '90s, post-rock's style often bears little resemblance musically to that of contemporary indie rock.〔〔 ==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 and textures rather than riffs and power chords". He further expounded on the term, 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 not to 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." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was also used in the Rolling Stone Album Guide to name a style roughly corresponding to "avant-rock" or "out-rock".〔 Another pre-1994 example of the term in use can be found in an April 1992 review of '90s noise-pop band The Earthmen by Steven Walker in Melbourne music publication ''Juke'', where he describes a "post-rock noisefest". 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Post-rock」の詳細全文を読む スポンサード リンク
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