It is a universe of the new, the interesting and the strange. It delivers everything from the clean, natural compositions of Balmorhea, to the texture-laden, synth-driven depths of Belong it embraces the vast, rock-instrumented symphonies of Mono and the sublime, cinematic soundscapes of Eluvium but it also celebrates the melancholy strings of Stars of the Lid, to say nothing of the aching lamentations of Sigur Ròs.
This creates a treasure trove of musical experimentation, a genre that introduces music lover and maker alike to a plethora of ingenuity. The rules are pretty pliable, as long as it’s not really a straightforward rock song.” You can tell by his description that there are hardly any rules and post-rock artists break whatever rules there are in every conceivable direction, rewriting them in their own image. Sometimes it’s all instrumental, and in other cases it’s built on samples or spoken word passages. There is both more improvisation and more complex editing techniques. Its song structure can vary widely, or in some cases be nonexistent. In his Treblezine article “ 10 Essential Post-Rock Albums“, Jeff Terich describes post-rock as follows: “It’s a genre in which texture, tone and atmosphere has a more prominent role than hooks or verses and choruses. Post-rock is therefore almost a necessarily nebulous term. Today, it includes ambient bands like Hammock, experimental projects like Jónsi & Alex, shoegaze bands like Jeniferever and even dream pop groups like Kyte. But over time, through a kind of osmosis, the term has come to encapsulate a host of sub-genres, making up a particular body of experimental music. Whilst in its “strictest” sense it is essentially non-traditional rock music made with rock instruments, that definition only considers bands such as Mogwai, Godspeed You! Black Emperor, Explosions in the Sky and This Will Destroy You, whose music epitomises post-rock in its “purest” form. I could, for example, describe my work as “experimental post-minimalist ambient electronic progressive rock” (or something equally absurd and pretentious), but how practical is that melange of identifiers to me, or a listener who hopes to discover it? “Post-rock” is a neat, necessary and welcome contraction. For purposes of classification, this is a nightmare, but for all others-particularly the creation and discovery of music-it is positively heaven sent. It includes so vast a range of musical styles that it is rendered just about meaningless. Its exclusion from the available options is, perhaps, not all that surprising because as a descriptor of a creative category, it tells you almost nothing about an artist’s sound.
It falls under Post-rock, a genre that is somewhat difficult to define. I selected “Electronic”, the closest generic match, but my music actually falls somewhere in between. From the official options, it came down to either “Electronic” or “Rock”. When I submitted Airship to online music distributors, I had to choose a genre for the album. Image by Not Electronic, not Rock: Post-rock Like Silently You Sail and Sheltering Airships, it is short and sweet, but I hope it captures this fanciful romance: Mooring MastįORGOTTEN FIELDS Godspeed You! Post-rocker The poem describes the mooring mast as the lover of such an ill-fated airship. The airship is weighed down, making manoeuvering difficult or impossible, resulting in disaster. Winds and rain can cause an airship to lose altitude, especially in freezing conditions where ice forms on the hull. (Image: Unknown) Airships and their battles
(Image: Library of Congress) Right: A close-up view of an airship being prepared for undocking. Left: British MPs walk onto the R101 airship gangplank, in Cardington, England, in the 1920s. I recently saw footage of this process and it reminded me of a kiss: shall we say, a finely judged procedure. It is, essentially, an enormous tower fitted with a mechanism at its top to which the airship bow is fixed by a mooring line. A mooring mast is a docking point for an airship. This time, I have focused on the mooring mast. The first was Silently You Sail, on an airship in flight (the words became lyrics to the track by the same name on the Airship album), and the second, Sheltering Airships, on airships in their hangars. (Images: Navy Lakehurst Historical Society) Airships and their loversĪ hopeless romantic-at least, when it comes to lighter-than-air flight-I have written my third airship poem. There were no serious injuries to the crew of 25. The 200-metre (660-foot) airship was upended by a turbulent wind, but slowly righted itself. USS Los Angeles does a spectacular nose stand whilst tied to the mooring mast at Lakehurst, New Jersey (1926).
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