Been a bit remiss in not alerting you earlier to the existence of this book, which came out last year - Jack Chuter's Storm Static Sleep: A Pathway Through Post-Rock. I gather that it's now virtually sold out its first printing, but another is due imminently - so perhaps this can count as a preview of that rather than a postview.
Chuter has done a fine job tracking the evolution of this most disputed of genres, from its start point (Talk Talk circa Spirit of Eden and Laughing Stock supposedly - something I have never really seen myself) through to its late-90s-onward ongoing state of not-really-what-I-had-in-mind-to-be-honest. Chuter has done his research, talked to the relevant parties, and has a nicely evocative way with describing sound, which is something that can't be avoided when the music in question is largely instrumental and texture-oriented.
Most supremely relevant though is the fact that this is the only book in the world that has an entire chapter devoted to me. ME!
Yes, Chapter 5, "Simon Reynolds" is me being interviewed, paraphrased, situated, analysed - a delicious sensation!
Actually, there is one other book - this rather good history of rock criticism "from the beginning" - but I only get a chunk of a chapter and the chapter title does not include the words "Simon Reynolds".
Going back to post-rock, yes it does feel a little odd to have lost interest so substantially in a genre I'm wedded to as its namer/conceptualiser . I do so prefer the early UK wave - Disco Inferno, Seefeel, Main, Techno Animal, Laika, Insides, et al - to what came later, which seems not "post-" anything really: simply a form of instrumental rock that utilises a lot of dynamics and crescendos often to rather epic and overly dramatic effect. Never understood why Slint was shunted into the category - they're an excellent rock band, nothing more, nothing less.
Talking of the early UK p-r a/k/a the Lost Generation - Insides are back with their first song in 16 years, complete with excellent video!
A feature on Julian & Kirsty is actually the first time I used the term "post-rock" (not as endlessly reiterated, in that Mojo review of Hex). Or does this slightly earlier piece count?