The most important post-rock album of all time is Slint’s Spiderland. The best post-rock album of all time is Godspeed You Black Emperor’s! F#A#∞. Mogwai’s Young Team defined the genre and Sigur Ros’ Agaetis Byrjun blew the lid off it. Since then we've had ten years of complacency from a previously excellent genre; Godspeed broke up, each Mogwai release is more tepid than the last, Sigur Ros peaked early and no one cares about Explosions in the Sky.
Some records are made to be listened to in certain situations, sometimes regardless of their aim or conception but often because of it. Kraftwerk's Autobahn is an obvious example, and one which clicks, strangely enough, on almost deserted, dim-lamp lined motorways, deep into darkest night. Best of the recent examples of this would be Zombie Zombie's A Land For Renegades, which falls firmly into the mentioned aesthetic.
For rockers dipping a toe into the unstable sea of electronic music, the guitar can serve as a sort of emergency floatation device: Helpful to those who haven't given up on notions of the guitar's emotional supremacy, distracting to those who prefer to swim, though they risk sinking. The guitar parts were the least interesting elements of Leeds duo Worriedaboutsatan's first two EPs of IDM-bolstered post-rock, subjugating atmospheric subtleties to prosaic chord progressions. On Arrivals, they abandon the guitar on the shore and paddle out past the breakwater, into a vast and shifting calm.
Review Summary: Worriedaboutsatan's debut full-length doesn't take the breath away, but it does strengthen their position as one of electronica's most promising acts.It’s a frustrating thing to hear a band stray away from the direction you wanted them to go in. They build up your hopes with a refreshingly unique but tantalizing short EP, force you to wait patiently for their next move, then bam! The curveball of disappointment. This was my first impression upon hearing worriedaboutsatan’s debut full-length Arrivals.