Electronicore

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Electronicore (also known as Trancecore or Synthcore) is a fusion of metalcore with elements of various electronic music genres, such as trance, electronica, and dubstep.

Electronicore is characterized by typical metalcore instrumentation, breakdowns, and heavy use of sequencers, conventional instrument recorded-note samplers, electronic tone-generating synthesizers, auto-tuned singing, and screamed vocals. The degree to which metalcore characteristics are incorporated may vary. In addition to electronica, the fusion may involve a variety of other electronic music genres, including techno, trance, dubstep, electro, and dance.

Notable artists who contributed to the development of electronicore include Attack Attack! in the USA and Enter Shikari in the UK.

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electronicore top albums

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CROSSFAITH Apocalyze Album Cover Apocalyze
CROSSFAITH
4.50 | 3 ratings
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A FEAST FOR CROWS Re​|​Awakening Album Cover Re​|​Awakening
A FEAST FOR CROWS
4.50 | 2 ratings
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A FEAST FOR CROWS A Chapter Rewritten Album Cover A Chapter Rewritten
A FEAST FOR CROWS
4.50 | 2 ratings
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A FEAST FOR CROWS A Chapter Unwritten Album Cover A Chapter Unwritten
A FEAST FOR CROWS
4.33 | 3 ratings
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CROSSFAITH The Artificial Theory For The Dramatic Beauty Album Cover The Artificial Theory For The Dramatic Beauty
CROSSFAITH
4.33 | 3 ratings
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CROSSFAITH The Dream, The Space Album Cover The Dream, The Space
CROSSFAITH
4.33 | 3 ratings
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Zero
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DRIP FED EMPIRE
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Breathe.
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electronicore Music Reviews

ゆよゆっぺ SICK -やんでるEP-

EP · 2023 · Electronicore
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siLLy puPPy
ゆよゆっぺ or Yuyoyuppe was last heard from in 2018 only as the post-hardcore / alt metal entity Draw The Emotional instead of his usual electronicore laced metalcore that he is better known for. Since his his debut in 2009 with “Solitude Freak” he has gone on to produce some of Japan’s most successful modern metal hybrids such as Babymetal. While touted by some as the nu metal of the 21st century, YUYOUPPE has carved a unique niche of mixing J-pop and Kawaii metal with alternative metal and all the core musical forms ranging from metal-, death-,post-hard- and of course his speciality electronicore.

This EP signifies his return to the scene and while only featuring five tracks at about 16 minutes nevertheless provides a signal of his triumphant return to the Japanese musical world. After all six years is a lengthy absence in this day and age as things tend to move fast in the pop oriented world. SICK -やんでるEP- reverts back to YUYOUPPE’s solo leanings and is a mix of J-pop, djent, metalcore, alt metal and electronicore. Basically the music is loud and abrasive but all set to J-pop cute and cuddly melodies.

The vocaloid sensation to grace this EP is 夏色花梨 Karin Natsuki who sings in Japanese despite the titles presented in English. This is definitely one of those styles that separates generations as old school metalheads will absolutely hate this and younger generations who have been raised on every style of musical expression have no problem throwing any disparate sounds together. The result is J-metal which is somewhat in the camp of Baby Metal but this is much more focused on electronica with the core elements simply adding an accompanying bombast.

While i would hardly call this my favorite style of music in either the pop or metal worlds, YUYOPPE delivers some interesting contrasts here with a slick production on the electronic side of the equation and a totally dissonant metal bombast on the other. The results are electrifying even if not satisfying for all. While i’m not terribly familiar with YUYOUPPE’s output, it seems this EP is a return to the sounds of his earlier albums such as his popular debut. All in all i find this an interesting album although i have to suspend my expectations of what metal are to enjoy it. If you think of this as heavy J-rock then it will go a lot further. Labels sometimes just get in the way.

ENTER SHIKARI Take To The Skies

Album · 2007 · Electronicore
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siLLy puPPy
Once the 21st century hit, all the “core” styles of metal really starting to get experimental with emphasis on cross-pollinating completely unrelated musical styles. One of the more successful of these came in the form of electronicore, also known as trancecore or synthcore which took the traditional metalcore instrumentation and style including breakdowns and married it with a heavy use of sequencers, samplers, synthesizers and other effects hitherto only experienced in electronic dance music such as IDM, psybient, psytrance and dubstep.

One of the first bands to go this route was the English band ENTER SHIKARI that formed out of the ashes of the hardcore band Hybryd. After a series of short EPs (“Nodding Acquaintance,” “Anything Can Happen In The Next Half Hour,” “Sorry You’re Not A Winner) the band which consisted of four core members and another five to provide “gang” vocals, released their debut TAKE TO THE SKIES in 2006 and has become famous for achieving significant chart success as a completely independent release on their own Ambush Reality.

Mostly due to touring and internet interaction with the fanbase, TAKE TO THE SKIES eventually went on to sell over 200,000 copies. This debut takes the liberty to re-record many of the demo tracks and spruce them up with better production. The success of TAKE TO THE SKIES naturally opened the doors for a whole legion of followers with bands like Crossfaith, Fatal FE, FACT and I See Stars finding new ways to add even more elements such as brostep, emo-pop, eurodance and even djent. As a pioneer in the genre ENTER SHIKARI pretty much sticks to melodic metalcore as its base and then adds healthy doses of synthesized trance music.

TAKE TO THE SKIES attempts to forge a new style of hybridization that marries two completely unrelated musical genera but in the end feels like a rough draft. The metalcore aspects are pretty mediocre in their delivery with Roughton Reynolds’ vocals mostly being performed in a clean style of singing rather than the expected frenetic screaming. Oddly enough the band reminds me of Linkin’ Park in the sense that they find a middle ground between metal presentation with more atmospheric backdrops except they don’t muster up the same sort of catchy hooks.

Overall this album doesn’t quite gel the two styles together very well and at an almost hour’s playtime gets rather dull by the time it’s done playing. None of the musicians have the chops to pull off a really stellar metalcore performance and the silly call and response “gang” vocals are actually quite annoying. Likewise the trance parts are rather bland with only a generic haze as opposed to full-on interesting keyboard stabs that add some meat to the product. In the end, i’m quite underwhelmed with ENTER SHIKARI’s first offering. It’s a big yawner for me.

ONE MORNING LEFT The Bree-TeenZ

Album · 2011 · Electronicore
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Time Signature
Hermione's panties... :-S

Genre: metalpopcore

Metalcore mixed with pop music is not a new thing - bands like Sonic Syndicate and Dead By April (I've had the gerat displeasure of experiencing the latter live) are known for their poppy approach to metalcore, and, frankly, it is not a type of metalcore that I particularly enjoy.

One Morning Left similarly combine metalcore and melodic pop, pairing harsh vocals and breakdowns with melodic clean vocal harmonies and dominant synths. Still, I think that One Morning Left's music is much more interesting with more stuff going on than the above mentioned artists. One Morning Left do not rely solely on power chords, but make use of actual riffage and guitar harmonies as well as guitar solos and lead melodies.

Granted, a lot of what they do sounds incredibly cheesy - especially, the use of the synths. However, song titles like '!liaF cipE', 'Hermione's Panties', and 'This Song Has a Massive Autotune Chorus' along with the use of extremely cheesy electronica elements as well as incredibly funny things, like over-the-top pig squealing in 'Reetu inda House' and 'Hey Yo. Let's Play Tycoon' seem to suggest that One Morning After take the piss out of the entire metalcore genre.

In essence, "The Bree-TeenZ" is a spoof album, which parodies the metalcore genre while observing its conventions (and that is, of course, the best kind of spoof). What is more - whether you like the music or not - One Morning Left definitely are good musicians and, while they seem to be making fun of metalcore-pop, they still make better music, I think, than most other metalcore-pop acts I have heard.

If this is a spoof/parody album, which seem to be the case, then it is well nigh a stroke of genius. If it isn't, then it is a !liaF cipE. In any case, it will evoke some laughs.

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