A compilation of Seefeel's mid-90s work on Warp proves irresistibly crystalline for David McKenna
“We took a lot of flak when we joined Warp, just for the fact that we used guitars,” Mark Clifford tells Jeanette Leech in her book
Fearless – The Making of Post Rock. Inspired by Cocteau Twins, My Bloody Valentine, and Sonic Youth, but also dub, Seefeel had been one of the first UK groups to earn the term ‘post-rock’ minted in 1994 by journalist Simon Reynolds. The common thread Reynolds found connecting groups as disparate as Bark Pyschosis, Pram, Scorn, Main, Laika, Insides, and Seefeel was that they were “using rock instrumentation for non-rock purposes, using guitars as facilitators of textures and timbres rather than riffs and powerchords.” The corollary to this was, to varying degrees, the integration of samplers and approaches drawn from techno, hip hop, and dub. On this site, Ben Cardew also placed them in an electronic shoegaze micro-bracket together with Chapterhouse (as remixed by Global Communication) and Slowdive’s