Post-Rock: the strange, febrile cousin of Rock ‘n’ Roll. I’ve pondered on its relevance before without really coming to a conclusion. Initially, I put this indecision down to sheer flightiness, but have now realised that this non-committal wandering is actually quite post-rock in itself.
You see, the genre is wrapped in a quandary fully formed by its very existence. Post rock takes the guitar/drums/bass template of every rock band and stretches it into a wider, distressed, more distorted being. And this is both its downfall and its saving grace.
Here’s the one accusation most often levelled at Post-rock: that it all sounds the same: overlong, unstructured and self-indulgent. The truth, I think, is that all these complaints are valid; and also that these traits are actually the point.
So yes, some of Years Of Rice and Salt’s songs are reminiscent of other post-rock outfits’. Similarly, all of Boards Of Canada‘s albums sound virtually identical, and I love them for it: creating one sound, and repeating it, pulsing it and nurturing that one feeling on and on, not allowing it to drop or end.
Thus, YORAS‘s songs should sound almost just as you’d imagine, by definition, and for good reason. A song like Occasional Flashes Of Warmth might not stun you with novelty (as such), but if that’s what you’re looking for, then go and dive into a pile of Captain Beefheart albums.
These songs are supposed to invoke feelings, create situations and breathe life into your daydreams, not pull up trees and punch you on the nose. YORAS use their defined palette of sound and attack with all the trickery and skill that they have learned. It works, and you’ll be grateful.