I started to write a long and detailed discussion of various points made in the article but, I've got to digest that down to the most salient points over the next week (sorry very busy at work these days). It is thought provoking stuff though. I will just point out a few things now.

1. Post-rock never really went away. It might fall out of fashion but, the practitioners didn't go into hibernation. Laika just put out a retrospective collection and a brand new record just two years ago. I put out a new Lorelei 12" in 2003 as well. Pram, the Sea and Cake, Hood, Mouse on Mars are all still putting out records. In fact, the recent Hood release was very well received. Nor do you have to look far into the mainstream to find the influence of post-rock: Radiohead, Clinic, Sigur Ros. Radiohead are actually a good indicator of post-rock outfits poised to come into their own since they've had Laika, Clinic, and Sigur Ros open for them in the past. The article touches on how post-rock helped lift the experimentation of more mainstream outfits especially in their sound selections.
2. The importance of Slumberland Records is eternally under-appreciated. Slumberland had the first domestic release of Stereolab and the roster included the Swirlies, the Lilys, Lorelei, and Hood. It amazes me how much press labels like Thrill Jockey and Drag City enjoy and how infrequently Slumberland is even mentioned. I was disappointed the article didn't make the connection between the aforementioned bands and the label that helped them all get going.
3. American journalists have never paid close enough attention to experimental American music. The situation is slightly improved since the '90s but only slightly. Lorelei got as much if not more attention from the European press than it ever did stateside. In fact, when the NME did a small feature review and invited us to come play in the U.K. it was some of the first press we had ever received. We'd been playing out on the east coast for over a year by then. It wasn't until we went abroad that the local papers started to pay attention. If American bands borrow(ed) too much from bands abroad then perhaps that is because those are the only bands they are aware of operating in a space that excites them. Plus, when you and your peers are not getting any recognition it's difficult to know if you are on the right track and not unlikely that the sounds might lean towards the material that is out and available. We didn't do ourselves any favors in this regard by taking forever to record and release new material.

Anyway, there is a lot to mull over in the article so get over there and check it out.