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{{Short description|Electronic music genre}}
{{Redirect|Future Pop|the Perfume album|Future Pop (album)}} {{Redirect|Future Pop|the Perfume album|Future Pop (album)}}

{{Infobox music genre {{Infobox music genre
|name=Futurepop | name = Futurepop
⚫ | stylistic_origins = {{hlist|]<ref name="Matzke/Seeliger" />|]<ref name="Schmidt/Braun273" /><ref name="Elferen" /><ref name="Reed" />|]<ref name="Matzke/Seeliger" />|]<ref name="Matzke/Seeliger" /><ref name="Schmidt/Braun273" />}}
|bgcolor=silver
⚫ | cultural_origins = Late 1990s and 2000s, ]
⚫ |stylistic_origins={{hlist|]<ref name="Matzke/Seeliger" />|]<ref name="Schmidt/Braun273" /><ref name="Elferen" /><ref name="Reed" />|]<ref name="Matzke/Seeliger" />|]<ref name="Matzke/Seeliger" />|]<ref name="Schmidt/Braun273" />}}
⚫ | instruments = ], ]
⚫ |cultural_origins= Late 1990s, ]
⚫ | subgenres =
⚫ |instruments=], ]
⚫ | fusiongenres =
⚫ |subgenres=
⚫ | regional_scenes =
⚫ |fusiongenres=
⚫ | other_topics =
⚫ |regional_scenes=
}}
⚫ |other_topics=}}


'''Futurepop''' is an ] genre that has been characterized as a blend of ], ] and dance beats, based on ] and ].<ref name="Matzke/Seeliger">Peter Matzke, Tobias Seeliger: ''Das Gothic- und Dark-Wave-Lexikon.'' Schwarzkopf und Schwarzkopf, Berlin 2003, {{ISBN|3-89602-522-8}}, p.&nbsp;230.</ref><ref name="Schmidt/Braun273">Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' 2004, {{ISBN|3-531-14353-0}}. p.&nbsp;273.</ref> It began to emerge in the late 1990s with artists like ], ], and ].<ref name="Schmidt/Braun273" /><ref name="Matzke/Seeliger" /><ref name="Sorted"/> Other leading genre artists were ],<ref name="Matzke/Seeliger" /><ref name="Reed" /> ],<ref name="Matzke/Seeliger" /> ],<ref name="side">{{cite web |last1=Froidcoeur |first1=Stéphane |url=http://www.side-line.com/interviews_comments.php?id=40977_0_16_0_C |publisher=Side-Line Magazine |title=Assemblage 23 – I've never been fond of the 'future pop' moniker |archive-url=https://web.archive.org/web/20130906214750/http://www.side-line.com/interviews_comments.php?id=40977_0_16_0_C |archive-date=2013-09-06 |year=2009 |url-status=dead}}</ref> and ].<ref name="Elferen">Isabella van Elferen: ''Gothic Music: The Sounds of the Uncanny'', University of Wales Press, 2012, {{ISBN|0708325130}}, p.&nbsp;165.''</ref><ref>David Horn, John Shepherd, Paolo Prato: ''Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres Europe.'' Bloomsbury Academic 2017, {{isbn|978-1501326103}}, p.&nbsp;223.<br />"The futurepop genre, as exemplified in the music of Apoptygma Berzerk, Covenant and VNV Nation, saw EBM merging with synthpop while adopting features of trance and contemporary EDM." </ref> '''Futurepop''' is an ] genre that has been characterized as a blend of ], ] and ] beats, based on ] and ].<ref name="Matzke/Seeliger">Peter Matzke, Tobias Seeliger: ''Das Gothic- und Dark-Wave-Lexikon.'' Schwarzkopf und Schwarzkopf, Berlin 2003, {{ISBN|3-89602-522-8}}, p.&nbsp;230.</ref><ref name="Schmidt/Braun273">Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' 2004, {{ISBN|3-531-14353-0}}. p.&nbsp;273.</ref>


It developed in Western Europe as an outgrowth of both the ] and ] music cultures and it began to emerge in the late 1990s with artists like ], ], and ].<ref name="Schmidt/Braun273" /><ref name="Matzke/Seeliger" /><ref name="Sorted"/> Other leading genre artists were ],<ref name="Matzke/Seeliger" /><ref name="Reed" /> ],<ref name="Matzke/Seeliger" /> ],<ref name="side">{{cite web |last1=Froidcoeur |first1=Stéphane |url=http://www.side-line.com/interviews_comments.php?id=40977_0_16_0_C |publisher=Side-Line Magazine |title=Assemblage 23 – I've never been fond of the 'future pop' moniker |archive-url=https://web.archive.org/web/20130906214750/http://www.side-line.com/interviews_comments.php?id=40977_0_16_0_C |archive-date=2013-09-06 |year=2009 |url-status=dead}}</ref> and ].<ref name="Elferen">Isabella van Elferen: ''Gothic Music: The Sounds of the Uncanny'', University of Wales Press, 2012, {{ISBN|0708325130}}, p.&nbsp;165.''</ref><ref>David Horn, John Shepherd, Paolo Prato: ''Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres Europe.'' Bloomsbury Academic 2017, {{isbn|978-1501326103}}, p.&nbsp;223.<br />"The futurepop genre, as exemplified in the music of Apoptygma Berzerk, Covenant and VNV Nation, saw EBM merging with synthpop while adopting features of trance and contemporary EDM."</ref>
⚫ Futurepop is mostly associated with the ].<ref name="Elferen" /> It has become popular in alternative dance clubs, particularly in ]. Music festivals that feature futurepop bands include ], ], ] and ].<ref name="Schmidt/Braun273" />

⚫ Futurepop is associated with the ].<ref name="Elferen" /> It has become popular in alternative dance clubs, particularly in ]. Music festivals that feature futurepop bands include ], ], ] and ].<ref name="Schmidt/Braun273" />


==Characteristics== ==Characteristics==
Futurepop is mainly characterized by its "technoid"<ref name="Schmidt/Braun273" /> and "dance-oriented"<ref name="Schmidt/Braun273" /> ] structures,<ref name="Matzke/Seeliger" /> catchy melodies,<ref name="Schmidt/Braun273" /> the "pervasive use of trance beats"<ref name="Elferen" /> (mostly at 140 ]<ref name="Schmidt/Braun273" />), and an absence of vocal modification.<ref name="Matzke/Seeliger" /> The genre is distinguished from regular trance music by "retaining the lyrical and vocal structure of synthpop".<ref name="Elferen" /> Its "transparent sounds"<ref name="Elferen" /> and "smooth production" style<ref name="Elferen" /> have been considered as being "]"<ref name="Schmidt/Braun273" /> and "designed for music clubs".<ref name="Schmidt/Braun273" /><ref>Alexander Nym: ''Schillerndes Dunkel: Geschichte, Entwicklung und Themen der Gothic-Szene.'' Plöttner Verlag, 2010, {{ISBN|978-3-86211-006-3}}, p.&nbsp;199.<br />"In der Szene ist Neon das neue Schwarz. Der Sound dazu nennt sich Future Pop, Cybergoth oder Hellectro und ist von billigem Techno oft kaum mehr zu unterscheiden. (Stefan Gnad).<br />("Within the dark scene neon is the new black. The sound connected to it is called futurepop, cybergoth or hellectro. The music shows almsost no difference to mediocrely produced techno music.").</ref> Futurepop is mainly characterized by its "technoid"<ref name="Schmidt/Braun273" /> and "dance-oriented"<ref name="Schmidt/Braun273" /> ] structures,<ref name="Matzke/Seeliger" /> catchy melodies,<ref name="Schmidt/Braun273" /> the "pervasive use of trance beats",<ref name="Elferen" /><ref name="Schmidt/Braun273" /> and an absence of vocal modification.<ref name="Matzke/Seeliger" /> The genre is distinguished from regular trance music by "retaining the lyrical and vocal structure of ]".<ref name="Elferen" /> Its "transparent sounds"<ref name="Elferen" /> and "smooth production" style<ref name="Elferen" /> have been considered as being "]"<ref name="Schmidt/Braun273" /> and "designed for music clubs".<ref name="Schmidt/Braun273" /><ref>Alexander Nym: ''Schillerndes Dunkel: Geschichte, Entwicklung und Themen der Gothic-Szene.'' Plöttner Verlag, 2010, {{ISBN|978-3-86211-006-3}}, p.&nbsp;199.<br />"In der Szene ist Neon das neue Schwarz. Der Sound dazu nennt sich Future Pop, Cybergoth oder Hellectro und ist von billigem Techno oft kaum mehr zu unterscheiden. (Stefan Gnad).<br />("Within the dark scene neon is the new black. The sound connected to it is called futurepop, cybergoth or hellectro. The music shows almsost no difference to mediocrely produced techno music.").</ref>


] of Assemblage 23 described the style ironically as "mostly people who can't sing over '90s era trance patches".<ref name="Reed">S. Alexander Reed: ''Assimilate. A Critical History of Industrial Music.'' Oxford University Press, Oxford 2013, {{ISBN|978-0-19-983260-6}}, p.&nbsp;297.</ref> ] of ] described the style ironically as "mostly people who can't sing over '90s era trance patches".<ref name="Reed">S. Alexander Reed: ''Assimilate. A Critical History of Industrial Music.'' Oxford University Press, Oxford 2013, {{ISBN|978-0-19-983260-6}}, p.&nbsp;297.</ref>


==Etymology== ==Etymology==
] of VNV Nation credited himself with the term "futurepop" during a discussion with Apoptygma Berzerk vocalist ] to describe the sounds of their music and similar groups at the time.<ref name="Elferen" /> According to ''Sorted Magazine'' writer "Girl the Bourgeois Individualist": ] of VNV Nation credited himself with the term "futurepop" during a discussion with Apoptygma Berzerk vocalist ] to describe the sounds of their music and similar groups at the time.<ref name="Elferen" /> According to ''Sorted Magazine'' writer "Girl the Bourgeois Individualist":


{{quote|He says he came up with it during a conversation with Apop's Stefan Groth when they were discussing the arrogant attitude the press had towards the scene, dismissing it as simply an '80s revival. There was also the problem with the terms that were around, they regarded electro as encompassing too many things, while EBM is not what it used to be and the idea of the whole dark scene gives the impression that everyone is hanging out in crypts and listening to Sopor Aeternus.<ref name="Sorted">{{cite web|url=http://sortedmagazine.com/Sordid.php3?nID=261|author=Girl the Bourgeois Individualist|website=Sorted magAZine|title= Being a little bit productive|year=2002}}{{better source|date=November 2018}}</ref>}} {{blockquote|He says he came up with it during a conversation with Apop's Stefan Groth when they were discussing the arrogant attitude the press had towards the scene, dismissing it as simply an '80s revival. There was also the problem with the terms that were around, they regarded electro as encompassing too many things, while EBM is not what it used to be and the idea of the whole dark scene gives the impression that everyone is hanging out in crypts and listening to Sopor Aeternus.<ref name="Sorted">{{cite web|url=http://sortedmagazine.com/Sordid.php3?nID=261|author=Girl the Bourgeois Individualist|website=Sorted magAZine|title= Being a little bit productive|year=2002}}{{better source needed|date=November 2018}}</ref>}}


==References== ==References==
{{Reflist}} {{Reflist}}
{{Electronica}} {{Electronica}}
{{Pop music}}

] ]
]
] ]
] ]

Latest revision as of 00:33, 21 November 2024

Electronic music genre "Future Pop" redirects here. For the Perfume album, see Future Pop (album).
Futurepop
Stylistic origins
Cultural originsLate 1990s and 2000s, Western Europe
Typical instrumentsSynthesizer, music software

Futurepop is an electronic music genre that has been characterized as a blend of synth-pop, EBM and dance beats, based on trance and techno.

It developed in Western Europe as an outgrowth of both the EBM and electro-industrial music cultures and it began to emerge in the late 1990s with artists like VNV Nation, Covenant, and Apoptygma Berzerk. Other leading genre artists were Assemblage 23, Icon of Coil, Neuroticfish, and Rotersand.

Futurepop is associated with the cybergoth subculture. It has become popular in alternative dance clubs, particularly in Germany. Music festivals that feature futurepop bands include Infest, Amphi festival, Wave Gotik Treffen and M'era Luna.

Characteristics

Futurepop is mainly characterized by its "technoid" and "dance-oriented" pop music structures, catchy melodies, the "pervasive use of trance beats", and an absence of vocal modification. The genre is distinguished from regular trance music by "retaining the lyrical and vocal structure of synthpop". Its "transparent sounds" and "smooth production" style have been considered as being "chart-compatible" and "designed for music clubs".

Tom Shear of Assemblage 23 described the style ironically as "mostly people who can't sing over '90s era trance patches".

Etymology

Ronan Harris of VNV Nation credited himself with the term "futurepop" during a discussion with Apoptygma Berzerk vocalist Stephan Groth to describe the sounds of their music and similar groups at the time. According to Sorted Magazine writer "Girl the Bourgeois Individualist":

He says he came up with it during a conversation with Apop's Stefan Groth when they were discussing the arrogant attitude the press had towards the scene, dismissing it as simply an '80s revival. There was also the problem with the terms that were around, they regarded electro as encompassing too many things, while EBM is not what it used to be and the idea of the whole dark scene gives the impression that everyone is hanging out in crypts and listening to Sopor Aeternus.

References

  1. ^ Peter Matzke, Tobias Seeliger: Das Gothic- und Dark-Wave-Lexikon. Schwarzkopf und Schwarzkopf, Berlin 2003, ISBN 3-89602-522-8, p. 230.
  2. ^ Axel Schmidt, Klaus Neumann-Braun: Die Welt der Gothics. Spielräume düster konnotierter Transzendenz. 2004, ISBN 3-531-14353-0. p. 273.
  3. ^ Isabella van Elferen: Gothic Music: The Sounds of the Uncanny, University of Wales Press, 2012, ISBN 0708325130, p. 165.
  4. ^ S. Alexander Reed: Assimilate. A Critical History of Industrial Music. Oxford University Press, Oxford 2013, ISBN 978-0-19-983260-6, p. 297.
  5. ^ Girl the Bourgeois Individualist (2002). "Being a little bit productive". Sorted magAZine.
  6. Froidcoeur, Stéphane (2009). "Assemblage 23 – I've never been fond of the 'future pop' moniker". Side-Line Magazine. Archived from the original on 2013-09-06.
  7. David Horn, John Shepherd, Paolo Prato: Bloomsbury Encyclopedia of Popular Music of the World, Volume 11: Genres Europe. Bloomsbury Academic 2017, ISBN 978-1501326103, p. 223.
    "The futurepop genre, as exemplified in the music of Apoptygma Berzerk, Covenant and VNV Nation, saw EBM merging with synthpop while adopting features of trance and contemporary EDM."
  8. Alexander Nym: Schillerndes Dunkel: Geschichte, Entwicklung und Themen der Gothic-Szene. Plöttner Verlag, 2010, ISBN 978-3-86211-006-3, p. 199.
    "In der Szene ist Neon das neue Schwarz. Der Sound dazu nennt sich Future Pop, Cybergoth oder Hellectro und ist von billigem Techno oft kaum mehr zu unterscheiden. (Stefan Gnad).
    ("Within the dark scene neon is the new black. The sound connected to it is called futurepop, cybergoth or hellectro. The music shows almsost no difference to mediocrely produced techno music.").
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