Post-rock is a done-to-death description but as a semaphore of intent it still serves a certain purpose. First coined by music-journo Simon Reynolds as a term to describe progressive music “using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords”, its use was rapidly spread during the 90s by breathless writers suddenly overwhelmed by seemingly-infinite possible music-futures. Reynolds further expounded:

perhaps the really provocative area for future development lies… in cyborg rock; not the wholehearted embrace of Techno’s methodology, but some kind of interface between real time, hands-on playing and the use of digital effects and enhancement.

… which in itself has turned out to be suitably ambitious, as in general attempts at an amalgam of real-time instrumentation and digital frippery have turned out to be a big horrible mess (with notable exceptions, of course).