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These are tropes that have become associated with post-rock with the likes of Mogwai and Explosions in the Sky, though the genre itself eschews any fixed definitions. While the edges blur between post-rock and its cousins (math, progressive/prog- and instrumental rock), what is clear is its sheer popularity. In Asia particularly, post-rock has flourished, expansive not only in its soundscapes, but also reach.
Why? It's hard to say for sure, but we know that post-rock’s atmospheric non-structured form—with no need for lyrics—provides plenty of room for cultural interpretation many times over; and this goes both ways, for listeners also find their own means of connecting to these layered, cinematic and often experimental compositions, unencumbered by language. It is entirely possible as well that post-rock’s heavy reliance on instrumental genius and innovation resonates with cultures that have emerged from a long tradition of instrumental music and a history of introduced influences. Asia anyone?
Here’s a playlist / starter pack to soundtrack your day, with picks from Asia that are by no means exhaustive of all the aural post-rock gems that can be found in this part of the world. In no particular order, let it riff.
With 11 albums and several world tours under their belt, Japanese band MONO really needs no introduction (not much at least). Formed in 1999, the band is known for its diverse musical palette, drawing influences across genres—from Morricone to Mogwai. The 2009 album Hymn to the Immortal Wind is a favourite amongst fans thanks to its rich orchestral arrangements.
Emerging from humble Singapore, Paint The Sky Red is just one of the island’s many post-rock bands (though arguably one of its best). After releasing their first album in 2011, the band built a strong international following online, racking up millions of streams across platforms like Bandcamp, YouTube and Spotify thanks to their cinematic and deeply evocative music, reminiscent of stalwarts like Explosions in the Sky. The band released their final album, Tamat, in Dec 2023.
A band synonymous with Chinese post-rock, Wang Wen is a legend in China’s alternative music scene. With elaborate ambient compositions that are melancholic in nature, it’s no wonder that the band has amassed such a dedicated cult following internationally. Wang Wen has toured their intense live shows extensively in Europe and Asia, playing festivals such as Belgium’s Dunk Festival, Hong Kong’s Clockenflap and Thailand’s Maho Rasop Festival.
Second to Wang Wen, Zhaoze is well-loved for their unique brand of post-rock and explosive live shows. Centering the sounds of traditional Chinese instruments like the guqin, their music is intense and immersive, seamlessly marrying sensibilities of different eras into one cohesive sound.
The band is set to play live in Singapore on 18 Feb at Esplanade Annexe Studio, as part of Huayi – Chinese Festival of Arts 2024.
After 11 years together, Malaysian legend Deepset is still going strong. Inspired by the indie rock and shoegaze bands of the ‘90s, they create lush, vivid and drawn-out compositions. The band has a dedicated following both in Malaysia and across the causeway, having released albums under Singapore-based label, KittyWu Records.
downy's music eschews most of the tropes popularised in the genre, with sonic influences drawn from multiple sources. Some songs are filled with heavy distortions usually found in shoegaze, others feature angular rhythmic jazz patterns, and several songs feature the dream-pop-like vocals of lead singer Aoki Robin. Pairing their technical capabilities with diverse sonic textures, it’s no surprise that the band has developed a strong cult following.
Similar to their Chinese counterparts Zhaoze, Korean ensemble JAMBINAI is known for incorporating traditional instruments into their music, such as the piri (flute), geomungo (long zither) and haegeum (vertical fiddle). The band first formed in 2009 but only shot to fame in 2020 after the release of their song, Onda, which won Best Rock Song at the 17th Korean Music Awards. Ominous and charged with aggressive energy, JAMBINAI’s gothic sound has brought them to stages all over the world, including SXSW and Coachella.
Thailand’s indie rock scene has been flourishing in the last few years—think dozens of live houses, music bars, homegrown festivals and the like. With this comes a whole wave of fresh bands, including post-rock ensemble Hope the flowers. Incorporating horns, strings and other orchestrations into their complex rhythmic compositions, it’s no wonder that the band’s music has travelled as far as it has—Hope the flowers is slated to perform at the 15th edition of Taiwan’s Megaport Festival in March 2024.
It’ll be remiss not to mention one of Thailand’s OG bands. For fans of the Thai rock mainstream, think of Inspirative as the Bodyslam and Potato of the country’s indie rock scene. Initially conceived as a solo project in 2006, the band started getting traction in 2011 upon the release of their first album, Mysteriously Awake. With equal numbers of expansive soaring pieces and simpler, vocal-forward songs, Inspirative embodies multiple facets of the post-rock genre.
Amidst the abundance of alt-rock bands in Indonesia, Yogyakarta's Niskala stands out in contrast to most of their peers’ frantic sounds. The band enjoys a dedicated following in their home country for their slow, moody and atmospheric music, as well as their profoundly intimate live shows.
After an extended hiatus, Taiwan’s Bugs of Phonon re-emerged in 2022 to the surprise and delight of fans. Their album Understory featured a renewed, more potent sound that veered towards the heavier end of the rock spectrum, though it retained the melodicism and storytelling that the band is known for. Regaining momentum in Taiwan’s bustling music scene, the band continues to push forward by collaborating with artists such as rising singer-songwriter, Pei-Yu Hung.
Perhaps it’s a bit cruel to end with a band that’s no longer active, but Tom’s Story was beloved in the Filipino indie scene, largely due to the intricate guitar work and catchy riffs by guitarist Gabba Santiago. After the untimely departure of founder Tom Navel, the band moved forward as the duo Deggs & Gabba, with the latter also releasing his own solo music.
