on top of that I am obsessing with few electronics albums …heh.

When’s the second part due?

Here is one by Mono, a japanese postrock group.

http://reynoldsretro.blogspot.com/2007/08/brian-eno-year-with-swollen-appendices.html

Rigidity of mind is for Eno the least likable thing in the world. The closest thing to bitchiness in an entire year’s secret thoughts occurs after a meeting with The Cranberries, who firmly reject Eno’s oblique strategies and flexible approaches (the reasons any band wants to be produced by him in the first place): “Dolores has a rather startling clarity of intention about how she wants to record,” he notes dryly of the band’s obnoxious lead singer. Fanaticism, in pop or in politics, baffles Eno, and struggle and conflict are curiously absent from both his work and his world-view. He mocks the notion of “the glorious struggle of the artist,” and remarks of painters like Francis Bacon, “I sort of admire… their obvious agony of effort, but it doesn’t move me.” Politically, Eno seems to align himself with a socially progressive, “kinder” capitalism (long-term planning, improved design) insofar as he participates in the Global Business Network, a future-scenarios development group founded by Brand and Peter Schwartz. His only comment on the life ninety percent of humanity are obliged to lead is uncharacteristically thoughtless: “In New York you often look at people working for an honest minimum wage in mind-numbingly awful jobs and think, ‘They are the suckers, the poor suckers.’… Why on earth don’t they turn to crime?”

Rejecting as adolescent the twin passions – romantic desire, underclass resentment -that fuel rock rebellion, Eno favors mind-states at once more mature and more childlike: fascination, reverie, awe, sensuous delectation. His great musical innovation, ambient, is closer in spirit to his other interests – food, wine, decor, perfume, gardening, screen-savers – than to rock’s expressionistic urgency. Clearly representing some kind of model-for-living to Eno are the delighted, open-hearted responses of his daughters, Irial and Darla, to the world. When five-year-old Irial imagines digging through to the other side of the universe and finding a new world there, Eno asks what would be in that world: “God would be there! And bears. Just bears and God.”

SIMON REYNOLDS

http://media.www.mcgilltribune.com/media/storage/paper234/news/2002/11/19/AE/Post-Rock.A.Movement.Of.The.90s.Still.Kickin-326959.shtml

Post rock was the dominant form of experimental rock during the 90s, a loose movement that drew from greatly varied influences and nearly always combined standard rock instrumentation with electronics. It fused music such as Kraut-rock, ambient, prog rock, space rock, math rock, tape music, minimalist classical, British IDM and dub with some elements of rock music.

Instead of using traditional song structures and motifs, the music was centred around creating moods and textures through experimental ideas. The music was often droning and instrumental, imitating such previous acts as Spacemen 3 and My Bloody Valentine. Post rock was something of a reaction against rock, particularly the mainstream’s co-opting of alternative rock; much post rock was united by a sense that rock ‘n’ roll had lost its capacity for real rebellion, that it would never break away from tired formulas or empty, macho rock-out with-your-cock-out moments. Thus, post rock rejected (or subverted) any elements it associated with the rock tradition.

The landmark album that started the post rock movement was by Louisville, Kentucky, band Slint. They released Spiderland in 1991. It was full of deliberate, bass-driven grooves, mumbled poetry, oblique structures and extreme volume shifts, all mixed together to create, as über-producer Steve Albini put it, “the best album of all time.”