Digital electronic rock

In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer. This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet, and new forms of performance such as laptronica and live coding. These techniques also began to be used by existing bands, as with industrial rock act Nine Inch Nails' album Year Zero (2007), and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.

Indie electronic, which had begun in the early '90s with bands like Stereolab and Disco Inferno, took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, andRatatat from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels. The Electroclash sub-genre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track "Space Invaders Are Smoking Grass" (1998), and pursued by artists including Felix da Housecat, Peaches,Chicks on Speed, and Ladytron. It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre. Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud. In Britain the combination of indie with dance-punk was dubbed new rave in publicity for The Klaxons and the term was picked up and applied by the NME to bands including Trash Fashion, New Young Pony Club, Hadouken!, Late of the Pier, Test Icicles and Shitdisco, forming a scene with a similar visual aesthetic to earlier rave music.

From Wikipedia

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