| Electronic rock | |
|---|---|
| Other names | Electro rock, synth rock |
| Stylistic origins | |
| Cultural origins | Late 1960s |
| Typical instruments | |
| Subgenres | |
| Other topics | |
Electronic rock (also known aselectro rock andsynth rock) is amusic genre that involves a combination ofrock music andelectronic music, featuring instruments typically found within both genres. It originates from the late 1960s when rock bands began incorporatingelectronic instrumentation into their music. Electronic rock acts usually fuse elements from other music styles, includingpunk rock,industrial rock,hip hop,techno andsynth-pop, which has helped spur subgenres such asindietronica,dance-punk andelectroclash.
Being a fusion of rock and electronic, electronic rock features instruments found in both genres, such assynthesizers,mellotrons,tape music techniques,electric guitars anddrums. Some electronic rock artists, however, often eschew guitar[2] in favor of using technology to emulate a rock sound. Vocals are typically mellow or upbeat,[3] but instrumentals are also common in the genre.[4]
One of the earliest composers to use electronic instruments in a rock context wasJoe Meek, with the 1960 concept albumI Hear a New World[5][6] and the 1962 single "Telstar", recorded byThe Tornados.[7][8] These works adapted instrumental patterns to an electronic studio setting, predating the later use of technology in rock music.[9]
The integration of electronic sound into rock music developed further during the mid-1960s. A notable example is the Beatles’ 1966 track "Tomorrow Never Knows", which musicologistWalter Everett describes as "an innovative example of electronic music as much as it advanced the leading edge of the rock world." Scholars and critics frequently cite the recording as a seminal work in the emergence of electronic rock, influencing later genres includingnew wave.[10]
In the same year, theBeach Boys employed similar innovations on the hit "Good Vibrations", whichTrevor Pinch andFrank Trocco, authors of the 2004 bookAnalog Days, credit with having "popularly connected far-out, electronic sounds with rock 'n' roll."[11] Other early acts to blendsynthesizers andmusique concrète'stape music techniques with rock instrumentation includedSilver Apples,Fifty Foot Hose,the United States of America,White Noise,Gong,[12]Syrinx,Lothar and the Hand People,Beaver & Krause andTonto's Expanding Head Band.[13] Many such 1960s acts blendedpsychedelic rock withavant-garde academic or underground influences.[13]
In the 1970s, Germankrautrock bands such asNeu!,Kraftwerk,Can andAmon Düül challenged rock boundaries by incorporating electronic instrumentation.[14] In 2004,Uncut described Kraftwerk's "incalculable" impact on electronic rock as being felt on major records likeDavid Bowie'sLow (1977) andRadiohead'sKid A (2000).[15] Since the late 2000s, electronic rock has become increasingly popular.[2]
The term "progressive rock" (or "prog rock") was originally coined in the 1960s for music that would otherwise be described as "electronic rock,"[4] but the definition of "prog" later narrowed into a specific set of musical conventions as opposed to a sensibility involving forward-thinking or experimental approaches.[16]
Electronic rock is also associated withindustrial rock,synth-pop,dance-punk,indietronica, andnew wave,[4] withelectroclash,new rave,post-punk revival,post-rock, considered as subgenres.[2] Sometimes, certain other electronic subgenres are fused with rock, such astrance andtechno, leading to the use of the terms trance rock and techno rock, respectively.[17][18]
| Synth-punk | |
|---|---|
| Other names |
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| Stylistic origins | |
| Cultural origins | Late 1970s |
| Typical instruments | |
| Subgenres | |
| Other topics | |
Synth-punk (originallytechno-punk orelectropunk) is a style of electronic music that mixes the aggression ofpunk rock with the use of synthesizers.[21][22] Originally pioneered by New York bandSuicide, formed in 1970.[23] Their sound over their five studio albums mixed punk rock with various electronic-based genres such as electronic rock,[24]synth-pop, anddisco.[25] Other artists such as Californian bandthe Screamers were labeled "techno-punk" by theLos Angeles Times in 1978.[19] Rather than the usual electric guitars, the band's instrumentation included a heavily distortedFender Rhodeselectric piano and anARP Odysseysynthesizer. The term synth-punk (or electropunk) was coined in 1999 by Damien Ramsey.[26]
In the early 1980s, synth-punk fused with various electronic genres to createelectronic body music, which would influence a number of subsequentindustrial dance, industrial rock and industrial metal acts. It also influenced thehardcore punk inspireddigital hardcore, which combines hardcore punk with electronic music,noise andheavy metal.[27][28] It typically features fast tempos and aggressivesound samples.[28]
Later revival instances include electronic body music,[20] dance punk,[29][22] and electroclash.In the 2010s, synth-punk influenced the development of an internet microgenre known asegg punk which drew influence from Devo.[30]
| Hyper-rock | |
|---|---|
| Stylistic origins | |
| Cultural origins | Late 2010s and early 2020s |
| Other topics | |
Hyper-rock is afusion genre that fuses rock music and hyperpop. It is characterized by a guitar-centric foundation combined with processed vocals, glitchy textures, andexperimental sound design, resulting in a sound that differs fromfolktronica,indietronica, ordigital hardcore.[31] The termhyper-rock was coined byStereogum journalist James Rettig. He introduced the term in a "tongue-in-cheek parenthetical" while reviewingFeeble Little Horse's album,Girl with Fish.[31][32]
Hyper-rock, as a distinct musical style, is considered to have emerged in the late 2010s and early 2020s, although its foundational elements and experimental precursors date back further. Early sonic experiments in the 2000s laid the groundwork for the genre. Known forerunners includeSweet Trip'sVelocity : Design : Comfort (2003) is considered a significant record for the genre, blendingIDM,glitch, and shoegaze. Tracks such as "Fruitcake and Cookies" and "To All the Dancers of the World, a Round Form of Fantasy" illustrate the progression from fragmented electronic textures to euphoric, guitar-driven soundscapes, elements later associated with hyper-rock.[31]
Hyper-rock is primarily built around rock guitars, which may range from dense,reverb-soaked layers reminiscent ofshoegaze to harsher, evolving riffs influenced byblack metal. Vocals are often heavily processed, employing techniques such aspitch shifting and the use ofAuto-Tune. The style also incorporates glitched-out production and electronic elements, including programmed drums, synth textures, and fragmented soundscapes. The genre reflects a fusion of influences from a wide array of musical styles. Shoegaze contributes atmospheric textures and layered guitar sounds, while hyperpop informs its high-energy, glitch-oriented approach and vocal processing. IDM, glitch, anddigicore provide jittery electronic elements and fragmented sound design. Some artists integrate aspects ofheavy metal,trance,EDM,vaporwave, andpop.[31]
| Synth-metal | |
|---|---|
| Stylistic origins | |
| Cultural origins | Early 1980s |
| Typical instruments | |
| Other topics | |
Synth-metal is the fusion of heavy metal and electronic music. It was pioneered in the 1980s withIron Maiden's albumSomewhere in Time andJudas Priest's albumTurbo, both of which notably incorporateguitar synthesizers.[33][34] They were both released in 1986.
Besides synth-metal,electronicore,electrogrind,coldwave anddungeon synth, heavy metal is also sometimes mixed with other electronic genres and their subgenres, inspiring terms such as electronic metal, electronic dance metal, trance metal, techno metal, andcyber metal.[35][36][37][38][39][text–source integrity?]
The term was invented in 1999 by Damien Ramsey to retroactively name a small subgenre of punk in which the musicians used synthesizers instead of guitars.
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