Dan Post Rock bukan berarti instrumental, banyak juga yg memakai vokal. Yang akhirnya Post Rock semakin diverse dan terbentuk sub2 genre didalamnya. sehingga banyak band2 baru yang mengintegrasikan unsur2 classical, jazz, electronica, math, metal, dll. Menariknya, Formula ini hanyalah sebagai dasar komposisi. Post Rock sekarang ini memakai formula Quiet/Loud, Build up Crescendo, dan jarang sekali memakai verse-chorus-verse, biasanya musiknya build up momentum yang diakhiri dengan klimaks. Jadi definisi Post Rock sudah berubah total dari sebelumnya, yang tidak ada rock menjadi ada, dan riff dan chord juga sering dipakai. Begitu juga dengan the legendary Godspeed You! Black Emperor, yang menetapkan formula Crescendo, Chamber music ke Post Rock modern. Konsep Quite/Loud yang mereka pakai sudah menjadi formula/dasar dari musik2 Post Rock sekarang. ItвЂ™s stupid.' SumberДЄlas.walaupun begitu, Mogwai merupakan salah satu template untuk band2 Post Rock sekarang. ItвЂ™s a bit miserable, so weвЂ™ll call it post rock. If itвЂ™s not straight-ahead rock nвЂ™ roll, then itвЂ™s post rock.

They donвЂ™t really know what sort of music it is. ItвЂ™s a pretty lazy term, lazy on the mediaвЂ™s front. You get bands like Tortoise, weвЂ™re nothing like Tortoise, weвЂ™re completely different. A lot of the bands are described as being post rock. I donвЂ™t know, it seems really pretentious to me. вЂњItвЂ™s kind of a stupid term, it doesnвЂ™t really make much sense. Mogwai has been lumped into this supposed genre of music by unimaginative music critics. 'Aitchison isnвЂ™t all grins, however, when asked how he feels about the term post-rock. Mogwai sendiri mengakui hal ini dan tidak suka dibilang post rock Yang kenyataannya musik mereka berbeda dari apa yang sudah didefinisikan oleh Simon Reynolds. Anehnya, Mogwai disebut band Post Rock juga. Tahun 96 - 97, lahir sebuah band bernama Mogwai yang memainkan musik instrumental rock. It's a little uneven and definitely not the reinvention of music as we know it, but Myths of the Near Future is a strong enough debut to survive a level of hype that has crushed other bands, and enjoyable enough to return to when the hype dies down.Istilah Post Rock pertama kali di ciptakan oleh Simon Reynolds waktu dia review album'nya Bark Psychosis - Hex tahun 1994, yang pada waktu itu definisinya ' Memainkan musik bukan rock dengan instrumen2 rock, dan lebih mengutamakan texture dan timbre daripada power chord' kenapa saya bilang 'waktu itu'? karena Post Rock sekarang ini (modern) sudah berubah atau berinovasi dari definisi awalnya, bahkan bertolak belakang.Д«and2 seperti Tortoise, Bark Psychosis, Talk Talk, Cul de Sac, Slint, Flying Saucer merupakan band2 generasi pertama yang sesuai dengan apa yang didefinisikan Simon Reynolds, 'Memainkan musik bukan rock dengan instrumen2 rock' dengan memasukkan unsur2 yg berbeda dari masing2 band, ada yang electronica, ambient, jazz, dll 'As Above, So Below,' 'Gravity's Rainbow,' 'Golden Skans,' and 'It's Not Over Yet' range from brisk, witty pop to radiant ballads, but they all boast hooks and melodies that many of Klaxons' more straightforward indie contemporaries would be proud to call their own. Paradoxically, Klaxons' more classic leanings are what make Myths of the Near Future's best songs sound fresh. Myths of the Near Future's layered, deep-focus production prevents the band's sound from getting too boxed-in, elevating 'Forgotten Works' and 'Isle of Her' with choral vocals and a chilly atmosphere reminiscent of Gary Numan, 'Ashes to Ashes' Bowie, and the colder side of Wire. Fortunately, though, Klaxons don't limit themselves to a strict diet of shouty vocals, angular guitars, and loping basslines (though these are all present and accounted for on less interesting tracks like 'Magick' and 'Four Horsemen of 2012'). Opening with shouts of 'DJ!' sirens and guitars that sound sampled, but aren't, then segueing to beats and rhythms that soar and plunge like a roller coaster, the song is the closest approximation of what a 'new rave' would actually sound like. 'Atlantis to Interzone' is the band's most overtly dancey song. Their sound is closer to dance-punk than revamped Madchester giddiness, more like Bloc Party before they got very, very serious than the Happy Mondays or Stone Roses. Breathlessly anointed by the British press as pioneers of the 'new rave' movement, Klaxons aren't quite as radical on Myths of the Near Future as they've been made out to be - but they're not as grating as the hype around them would suggest, either.

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