Like a massive shadow, this genre has loomed over the rock underground for nearly a decade. Lazer carved its niche in non-mainstream music during the 2010s, seeing several generations of musicians pass through its ranks. Yet, the history of the style remains shrouded in mystery. Even for hardcore fans, the exact origins of this music are unclear. A web of legends—spun by followers and echoed by indie magazines—has obscured the truth. This article distinguishes fact from fiction by tracing the chronology of Lazer music: a journey from its earliest roots to the present day.
The origins of the genre are rooted in the synth guitars that gained traction in the second half of the 20th century. Acts like Suicide and, later, New Order introduced and popularized a mix of rock and electronics. Thus, synth-rock emerged, followed by its industrial branch. By the 1980s and 1990s, the synth-guitar sound was no longer viewed as an experiment; it had moved into the mainstream, embraced by everyone from dark gothic bands to futuristic pop projects. In the early 1990s, as many EBM acts shifted toward a heavier metal sound, the border between rock and electronics seemed to vanish entirely. With nu-metal bands incorporating electronic samples and various post-rock projects surging at the turn of the millennium, it appeared there was little room left for further experimentation.
But music is art, and like all art, it tends to evolve. Often, such developments begin in the shadows, as was the case with the little-known Bakersfield band Cradle of Thorns. Although labeled a gothic act, Cradle of Thorns was a defiantly experimental project—a blend of punk, industrial, grunge, and rapcore that defied easy categorization. Despite their connections with Korn, the band never achieved similar recognition during their years of activity.
In that era, more prominent innovators emerged, such as Orgy and Deadsy. Their sound was an organic, almost seamless mix of industrial, gothic metal, new wave, and glam. Unlike Cradle of Thorns, who remained in the underground until the end, Deadsy and Orgy were mainstream successes. Polished and accessible to the masses despite their prog-rock influences, these two acts appeared to be the future of electronic rock. Ironically, their futuristic aesthetics played a significant role as well; Orgy’s frontman, Jay Gordon, even dubbed their style “Death pop.” Although the term didn’t achieve widespread use—as is often the case with such niche labels—both bands stood apart from the popular alt-rock movement of the time. However, the style failed to proliferate. Orgy eventually pivoted toward nu-metal and Deadsy disbanded, leaving this unique sound frozen in time for nearly a decade.
This did not mean that experimentation with rock and electronic music had ceased entirely. Numerous underground acts sought a unique, as-yet-undiscovered sound, though none gained significant prominence. Then, in 2012, Orgy announced their return. As is often the case with comebacks, the band did not return with its original lineup; instead, Jay Gordon assembled a new group of musicians to perform under the established name. This shift in personnel brought a drastic change in sound. Orgy no longer leaned into heavy music; their 2015 EP, Talk Sick, drifted closer to electropop and was met with sharp criticism. Nonetheless, the band managed to retain their core identity. The blend of dark synths and dynamic, pop-infused hooks that defined their 1990s success remained—albeit in a different form.
Orgy attempted to reinvent their style and define the mood of the modern scene. However, following the comeback, the band struggled to remain active. Talk Sick remained their only multi-track release of the new era; the rest of their output consisted of sporadic singles as the band shifted their focus to occasional local live shows. Their unique sound seemed destined to be buried in the depths of history once again, but light emerged where it was least expected…
On the other side of the planet, in distant Belarus, another player entered the scene: Flame of Life. Initially labeled as an alternative rock act, they released their first LP, Atomic Cocktail, in 2016. Highly experimental, the album drew heavy fire from the alt-rock community—and for good reason. The release blended disco, punk rock, blues, and even neoclassical influences, making it impossible to classify. Styles would shift multiple times within a single track. To identify their sound, Flame of Life’s frontman, Fazer, coined the term “Lazer.” At the time, few took that seriously; experimental rock albums were released every year, often by musicians attempting to brand their work with self-invented genres.
But Flame of Life went further. In 2017, the band released a self-titled album that shifted the paradigm of synth-guitar music. They systematized the rock experiments of the 1990s and 2000s, altering the core basics of the genre to define a new musical standard. It’s important to understand: Flame of Life didn’t invent Lazer—or at least, not on their own. There were many synth-guitar innovators prior to them; even Fazer noted that their unique sound wouldn’t have been possible without the earlier experiments of Cradle of Thorns. However, Flame of Life shaped the sound and gave it direction. Their self-titled album triggered a rise in experimental rock, drawing multiple underground acts out of the shadows. Bands like Bleeding Corp, Emma Peal, The Scaners, and Street Sects formed the core of what became known as the “First Wave of Lazer.” From Texas and Belgium to Lyon and Ecuador, what was once a “ridiculous” genre became a global movement in just a few years. The period of 2017–2018 marked the golden era of the world rock underground.
Then the pandemic hit. Widespread show cancellations stalled dozens of acts, and not everyone returned in the aftermath. This new era looked starkly different, with artists shifting their focus toward studio work. Projects like Black Dresses and Hakita became the definitive response to the lockdown—a way for the genre to survive under restrictive circumstances. Digital albums proliferated across the internet, released with almost no live interaction. This shift inevitably impacted public interest; the Lazer movement receded from the spotlight, retreating once again into the niches of the underground.
Everything has its ups and downs. The pandemic couldn’t last forever, and once live shows resumed, rock and pop stars surged back onto the stage. Lazer was no exception. A new generation, spearheaded by Your Favorite Blockbuster and Calva Louise, built its reputation primarily through live sets. Meanwhile, some of the old guard remain active. Street Sects re-emerged following Leo Ashline’s long battle with addiction, while The Scaners and Bleeding Corp—both of whom vanished during the pandemic—have recently returned with new albums. Lazer may not mirror its 2010s peak, but it is far from dead.
