As I mentioned in the previous chapter, this is a huge problem with post-rock. It makes sense to talk about post-rock as Loop moves into Main – the guitar is fading away, immaterialising. Post-rock is the process by which the whole is teased apart, splintering under those forces pushing irresistibly outward in numerous directions at once. After this point, though, the term becomes redundant. The more one fixates on Main’s point of origin, the less one really listens to Hampson’s sculptural handling of frequencies as its own distinct premise. On “XV” from 1996’s Firmament III, the noises
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