As I sit here typing this, it is currently December 9th. I’m writing these 12 Days of Anime articles in advance to avoid vacation scheduling conflicts and I’m preparing set times for them to post themselves thanks to WordPress. One such conflict is the fact that I have to turn in a 10 to 12 page paper on Friday the 18th over – of all fucking things – post-rock.
Yep, I’ve liberal arts’d my way out of doing proper research on this one. Name the greats, explain how it evolved, and question what exactly the term “post-rock” means now, because from years of exposure and enjoyment of the stuff, I’d hardly say Slint, Sigur Rós, Talk Talk and the average post-rock/emo blend outfit of today sound anything alike. The in-depth questions I’ll save for that paper. What you need to know is that post-rock is still kind of rare to find mention of in everyday conversation and hardly something that can be defined with even more vague terminology that leaves the questioner in the position of assuming this genre is just enigmatic hipster bullshit and all the people who listen to it are musical elitist pricks like Nao Tomori.
And I’ll be honest, while Nao is exactly the kind of person who I feel would listen to post-rock (and boy, do she and I have similar responses when asked what it is), Charlotte’s in-show post-rock band ZHIEND? Not really post-rock in my book. Great music, don’t get me wrong, but a little bit of atmospheric guitar delay does not a post-rock band make.
But that’s okay because it only further reinforces how stupidly ambiguous that genre tag is, and if nothing else, I got to hear anime characters exclaim the phrase “ROKKU JA NE, POSUTO-ROKKU DA” in proud half-Engrish several times from July to September. I never thought that’d happen, but Jun Maeda finds ways to make me smile even when his shows end up being misleading garbage and wasted potential. Forget episode 13 ever happened and jam some good shit instead, folks. It’ll be okay.