Here, he was writing in the Melody Maker about the Brighton-based duo Insides, who had just released their Euphoria album. Via canny mental mapping, Reynolds hit upon a way to capture a number of seemingly unclassifiable acts: in late 1993, he wrote of a ‘lo-fi but non-Luddite zone of post-rock/post-techno experimentalism that encompasses Disco Inferno, Seefeel, Aphex et al’. When journalist Simon Reynolds first named post-rock, he started out by highlighting the intrinsic dance culture of this slithery, slippery thing. The definition has broadly remained the same ever since. The version of post rock that the Icelandic group embodied – sweeping, soaring, ‘authentic’ – was now the dominant one, and did not include dance or electronica. In 1999, Sigur Rós (who had emerged in roughly the same period as Fridge) spoke rather proudly about how the only synthetic sound on the Ágætis Byrjun album was a ping in ‘Svefn-G-Englar’. It was less about electronics and dance music and all these things.’ All of a sudden it was more drone-y, bands with bass guitar solos.
At that point, Hebden had been in the post-rock band Fridge for several years, and had just begun making music as Four Tet too. ‘It’s around then that the concept of what post-rock was – it kind of changed from what I’d thought,’ says Kieran Hebden.
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