Question: The Cobra Killer was a part of the movement of which fusion-style music genre?

full_context: Document 1: Gina V. D'Orio: Gina Vaporjieff D'Orio, (born 23 September 1976 in Germany) is a producer, songwriter, and singer. She is the main former vocalist from German Digital Hardcore band EC8OR and member of Cobra Killer.
Document 2: Hardcore punk: Hardcore punk (often abbreviated to hardcore) is a punk rock music genre and subculture that originated in the late 1970s. It is generally faster, harder, and more aggressive than other forms of punk rock. Its roots can be traced to earlier punk scenes in San Francisco and Southern California which arose as a reaction against the still predominant hippie cultural climate of the time. It was also inspired by New York punk rock and early proto-punk. New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger, energy and subversive humor. Hardcore punk generally disavows commercialism, the established music industry and "anything similar to the characteristics of mainstream rock" and often addresses social and political topics with "confrontational, politically-charged lyrics".
Document 3: Cobra Killer: The Cobra Killer duo of Gina V. D'Orio and Annika Trost began as part of Alec Empire's Digital hardcore movement. Both were part of other bands signed to Empire's Digital Hardcore Recordings label—D'Orio was in EC8OR, and Trost was in Shizuo. Cobra Killer was arguably one of the most playful DHR bands, in contrast to the revolutionary bombast of most.
Document 4: Different Recordings: Different Recordings is an electronic music label owned by the [PIAS], an International independent music company. After a 3 year hiatus, the label returned in 2015 with a family of new signings from Claptone, Anna of the North, Vessels, KLLO, Infinity Ink and Denney. The label looks to champion a fresh crop of forward thinking, electronic artists.
Document 5: Discwoman: Discwoman is a New York based collective, booking agency, and event platform representing and showcasing female-identified (cis women, transwomen, and gender queer) talent in the electronic music community. It was founded in 2014 by Frankie Decaiza Hutchinson who does the outreach for the agency dealing with Public Relations and social media, Emma Burgess-Olson (a.k.a. UMFANG) as the resident DJ, and Christine McCharen-Tran who is the event producer and business powerhouse. Discwoman's regular club nights and touring events highlight emerging and established artists from around the world. Music produced by world-renowned female artists include The Black Madonna, Nicole Moudaber, Star Eyes, Sandunes, Demian Licht, and Nina Sonik whom have contributed to the electronic music culture. The gender imbalance in EDM (electronic dance music) is self-evident showing women making up to ~10.8% of artists in electronic music festivals. In a 2015 report by , it is stated that men comprised 82% of 44 international festivals’ lineups. Discwoman gives feminine-identified talent the platform and more visibility by booking them at bigger venues, streamlining the growth process, and ensuring the artists they are paid what they are worth in a male-dominated dance music industry.
Document 6: Grindcore: Grindcore is an extreme genre of music that originated in the early to mid-1980s. It draws inspiration from some of the most abrasive-sounding genres, including hardcore punk, extreme metal, industrial and noise rock. Grindcore is characterized by a noise-filled sound that uses heavily distorted, down-tuned guitars, grinding overdriven bass, high speed tempo, blast beats, and vocals which consist of growls and high-pitched shrieks. Early groups like Napalm Death are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and black humor.
Document 7: Thinkbabymusic Collective and TBMr Records: Thinkbabymusic is a collective based in Athens, Greece, founded in 2003 and ran by Vice Lesley and Dorah X, members of Athens' local garage, rock n roll band, The Velvoids. Along with booking shows and producing an endless amount of artwork in the local underground scene, its most notable attributes include an online and printed fanzine, entitled "The Zine"; having interviewed an array of artists such as Cheetah Chrome, Legs McNeil, James Williamson of The Stooges, Kid Congo Powers, Joel Gion of The Brian Jonestown Massacre, Richard Lloyd (guitarist), King Khan (musician), Bob Weston of Shellac (band), artist Brian M Viveros, Leighton Koizumi, Jerome T. Youngman, Glen Matlock, The Underground Youth, Henri Paul Tortosa, Billy Rath of The Heartbreakers, The Vibrators, photographer Steve Gullick and many more.
Document 8: Digital hardcore: Digital hardcore is a music genre that fuses hardcore punk and industrial rock with electronic music such as hardcore techno, breakcore and drum and bass. It typically features fast tempos and aggressive sound samples. The style was pioneered by Alec Empire of the German band Atari Teenage Riot during the early 1990s, and often has sociological or far-left lyrical themes.
Document 9: Digital Mystikz: Digital Mystikz are a dubstep production duo (consisting of Mala and Coki – when the two started making music together as teenagers they were known as Malibu and Coke) from the South London suburb of Norwood. Along with Loefah and Sgt. Pokes, whom make up the group ASBO (All Soundbwoy Out), they operate the DMZ record label and host the influential bimonthly nightclub DMZ, held at the Mass club complex in Brixton, London. BBC Radio 1 DJ John Peel was an early supporter of Digital Mystikz, eventually putting them in his annual 2004 Top 50 list at #29. They are among the scene's most famous producers. Their song "Anti War Dub" appeared in the 2006 film "Children of Men", although it wasn't included in the soundtrack. In the summer of 2008, Mala was chosen to headline the night portion of the Sonar Festival in Barcelona. In April 2011 Mala travelled to Cuba with Gilles Peterson who was returning to Havana to produce the second instalment in the 'Havana Cultura' series. While Peterson recorded new material with local musicians, Mala began work on a new album "Mala In Cuba", which was released in September 2012.
Document 10: Thrash metal: Thrash metal is an extreme subgenre of heavy metal music characterized by its fast tempo and overall aggression. The songs usually use fast percussive beats and low-register guitar riffs, overlaid with shredding-style lead work. The lyrics often deal with social issues and reproach for The Establishment, using direct and denunciatory language, an approach borrowed from hardcore punk.
Document 11: Canadian hardcore punk: Canadian hardcore punk originated in the early 1980s. It was harder, faster, and heavier than the Canadian punk rock that preceded it. Hardcore punk (usually referred to simply as hardcore) is a punk rock music genre and subculture that originated in the late 1970s. The origin of the term "hardcore punk" is uncertain. The Vancouver-based band D.O.A. may have helped to popularize the term with the title of their 1981 album, "Hardcore '81". Hardcore historian Steven Blush said that the term "hardcore" is also a reference to the sense of being "fed up" with the existing punk and new wave music. Blush also states that the term refers to "an extreme: the absolute most Punk." One definition of the genre is "a form of exceptionally harsh punk rock."
Document 12: D-beat: D-beat (also known as "discore", "kängpunk" (Swedish for "boot-punk"), and "discrust") is a style of hardcore punk, developed in the early 1980s by imitators of Discharge, after whom the genre is named, as well as a drum beat characteristic of this subgenre. D-beat is known for its "grinding, distorted and brutally political" sound. Discharge may have themselves inherited the beat from Motörhead and the Buzzcocks. D-beat is closely associated with crust punk, which is a heavier, more complex variation. The style was particularly popular in Sweden, and developed there by groups such as Crude SS, Anti Cimex, Mob 47 and Driller Killer. Other D-beat groups include Doom and the Varukers from the UK; Disclose from Japan; Crucifix and Final Conflict from the U.S.; Ratos de Porão, from Brazil; and MG15, from Spain. While the style initially developed in the early 1980s, a number of new groups working within the subgenre emerged in the mid-1990s. These include the Swedish groups Wolfbrigade, Totalitär, Avskum, Skitsystem and Disfear.
Document 13: El Otro Yo: Argentinean alternative rock band El Otro Yo ("The Other Me") got involved in the local scene in the late '80s / early '90s, making its debut with a demo tape called Los Hijos de Alien, followed by Traka-Traka. Later on, the group successfully founded its own label, Besotico Records, thus sealing their independent personality. EOY is the independent group with the most albums recorded in the 90’s.The band shared tours and stages with bands such as Pixies, Smashing Pumpkins, Marilyn Manson, Incubus, Yo La Tengo, Molotov, Café Tacuba, Todos Tus Muertos, Los Brujos, Nick Cave and the Bad Seeds, Silverchair, Soda Stereo, Robi Draco Rosa, The Offspring and Placebo, among others . They have played extensively all over Latin American and the United States. El Otro Yo is the third band in the world (after Nine Inch Nails and Radiohead) to transform their official website into a social network, which is called Comunidad EOY. They are also the first Latin American band to offer their own application to iPhone, iPad and iPod Touch users.
Document 14: Snare rush: Snare rush is a term often used in electro culture to refer to impossibly fast rolls. A snare rush can vary in tempo considerably, from 16th notes even to 2048th notes. At that sort of speed, the effect is a buzzing sound, but with a detectable pitch, so some artists vary the repeat rate, and can even play a tune. One example of this would be the last 18 seconds of "Ghetto Body Buddy" by Venetian Snares, where the theme from "Sesame Street" is played using only extremely fast snare rushes. The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it would take for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms, and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting. They are common in trance music, hard techno, gabber music, oldschool jungle, IDM, drill 'n bass, breakcore and glitch music.
Document 15: Rave music: Rave music may either refer to the late 1980s/early 1990s genres of house, breakbeat, acid house, techno and hardcore techno, which were the first genres of music to be played at rave parties, or to any other genre of electronic dance music (EDM) that may be played at a rave. The genre "rave", also known as hardcore by early ravers, first appeared amongst the UK "acid" movement during the late 1980s at warehouse parties and other underground venues, as well as on UK pirate radio stations. The genre would develop into oldschool hardcore, which lead onto newer forms of rave music such as drum and bass and 2-step, as well as other hardcore techno genres, such as gabber, hardstyle and happy hardcore. Rave music is usually presented in a DJ mix set, although live performances are not uncommon.
ground_truth: Digital hardcore