Electronic rock

Being a fusion of rock and electronic, electronic rock features instruments found in both genres, such as synthesizers, mellotrons, tape music techniques, electric guitars and drums. Some electronic rock artists, however, often eschew guitar but instrumentals are also common in the genre. One of the earliest composers to use electronic instruments in a rock context was Joe Meek, with the 1960 concept album I Hear a New World and the 1962 single "Telstar", recorded by The Tornados. These works adapted instrumental patterns to an electronic studio setting, predating the later use of technology in rock music. 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 musicologist Walter 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 including new wave. In the same year, the Beach Boys employed similar innovations on the hit "Good Vibrations", which Trevor Pinch and Frank Trocco, authors of the 2004 book Analog Days, credit with having "popularly connected far-out, electronic sounds with rock 'n' roll." Other early acts to blend synthesizers and musique concrète's tape music techniques with rock instrumentation included Silver Apples, Fifty Foot Hose, the United States of America, White Noise, Gong,Syrinx, Lothar and the Hand People, Beaver & Krause and Tonto's Expanding Head Band. Many such 1960s acts blended psychedelic rock with avant-garde academic or underground influences. In 2004, Uncut described Kraftwerk's "incalculable" impact on electronic rock as being felt on major records like David Bowie's Low (1977) and Radiohead's Kid A (2000). Since the late 2000s, electronic rock has become increasingly popular. ==Subgenres and other terms==

The term "progressive rock" (or "prog rock") was originally coined in the 1960s for music that would otherwise be described as "electronic rock," Electronic rock is also associated with industrial rock, synth-pop, dance-punk, indietronica, and new wave, Synth-punk Synth-punk (originally techno-punk or electropunk) is a style of electronic music that mixes the aggression of punk rock with the use of synthesizers. Originally pioneered by New York band Suicide, formed in 1970. Their sound over their five studio albums mixed punk rock with various electronic-based genres such as electronic rock, synth-pop, and disco. Other artists such as Californian band the Screamers were labeled "techno-punk" by the Los Angeles Times in 1978. Rather than the usual electric guitars, the band's instrumentation included a heavily distorted Fender Rhodes electric piano and an ARP Odyssey synthesizer. The term synth-punk (or electropunk) was coined in 1999 by Damien Ramsey. In the early 1980s, synth-punk fused with various electronic genres to create electronic body music, which would influence a number of subsequent industrial dance, industrial rock and industrial metal acts. It also influenced the hardcore punk inspired digital hardcore, which combines hardcore punk with electronic music, noise and heavy metal. It typically features fast tempos and aggressive sound samples. dance punk, Hyper-rock Hyper-rock is a fusion genre that fuses rock music and hyperpop. It is characterized by a guitar-centric foundation combined with processed vocals, glitchy textures, and experimental sound design, resulting in a sound that differs from folktronica, indietronica, or digital hardcore. The term hyper-rock was coined by Stereogum journalist James Rettig. He introduced the term in a "tongue-in-cheek parenthetical" while reviewing Feeble Little Horse's album, Girl with Fish. 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 include Sweet Trip's Velocity : Design : Comfort (2003) is considered a significant record for the genre, blending IDM, 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. They were both released in 1986. Besides synth-metal, electronicore, electrogrind, coldwave and dungeon 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, and cyber metal. ==See also==