As defined by critic Simon Reynolds, post-rock is a catch-all term for artists who employ rock instrumentation in pursuit of experimental, non-rock sounds. It’s a sensibility that can be traced back to ’80s fixtures Talk Talk, who famously abandoned their hitmaking pop style for extended atmospheric soundscapes informed by improvised jazz and neoclassical textures (a playbook embraced a decade later by Radiohead). In the ‘90s, the genre coalesced around indie-rock bands like Tortoise, The Sea and Cake and Stereolab, whose penchant for collecting obscure records was reflected in their liberal use of Krautrock, dub and bossa nova elements. Other artists, however, have put post-rock’s expansive canvas to more impressionistic use, be it the volcanic ruptures of Mogwai or the tearjerking symphonies of Sigur Rós. And some post-rock acts—like Mouse on Mars and Fuck Buttons—forsake the tools of rock altogether, by layering glitchy electronics to equally dramatic effect.