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Futurepop is in the second half of the 1990s, arising style of Electronic Dance Music, which, with its clean, danceable song structures in 4/4-time on Electro Pop-recourse - and Trance components. Moreover, one sees the roots of this in the EBM anchored, although sound [1] main representative of the style are or were Apoptygma Berzerk, VNV Nation and Covenant.

Origin of name

The title "Future Pop" comes from the same name, published in the September 1983 book "Future Pop: Music For The Eighties," the author Peter L. Noble, and later found among other things, a novel by M. G. Burgheim use (book review in the Zillo, No. 11/1999). [2] [3] However, also takes Ronan Harris of VNV Nation have claims for itself, coined the term. [4] Outside the context of pop music going back to the 19th century. [5] As of 2001, "Future Pop" reinforced for the protagonists of the style, including Icon of Coil used. At the same time appeared under the name first compilations on the German label Angel Star ( 'Future Pop: The Best Of Modern Electronic ", 2001) and Zoomshot Media Entertainment ( 'Future Pop Generation, 2002).


Initial attempts to overlay it already had the early and mid 1990s. To spread to include the shrunken to electro-pop duo project Camouflage isolated techno and trance elements and had themaxi "Suspicious Love(1993) some success. The Electro-Wave formation Fortification 55published 1995 her fourth album "Trance Migration, in which it came to similar experiments. The album flopped, however, because at that time there was no appropriate target audience. Similar trends were also in other German groups, like Boytronic (Blue Velvet, 1995), Delay ( 'Soul Cremation ", 1995 ), Distain! (Remote Control, 1996) or Rame (Space's Embrace ", 1996) observed.

At the same time, the maxi 'Non-Stop Violence(published 1995) andthe album "7"(1996) by Apoptygma Berzerk, where already some changes from previous releases the band were making. Thus, both 'Non-Stop Violence possess "Tracksand the" Deep Red "andLove Never Dies"already technoid basic structures. Three years later, themaxi "Eclipse" came on the market. 'Eclipse'should be regarded as one of the first Future-pop tracks. In parallel, the UK project VNV Nation albumempires(1999), published by the control and in particular the songs "Rubicon" and "Standing" in the same environment.

Success was not long in coming. Thus was recorded, the Swedish project Covenant a deal with Sony Music Entertainment Apoptygma Berzerk and VNV Nation together created with the jump in the Media Control chart. All three bands were previously in the Electronic Electronic - and electro-pop area is active, however, shared by their increasing devotion to trance as a style icon for Future Pop.


Future Pop is mostly in Germany is within the so-called Black Scene. In other countries, such as the United States is the public, however, heterogeneous, and composed mainly located in the alternative environment. The music indeed mediated in part a perceived as melancholic or gloomy mood, but in contrast to other techno id influenced genres such as Hellektro much more melodic and pop-oriented. Reproduced due to the strong orientation to commercial dance and pop music and the many bands that are unreflective of its influences, the most pioneering, the Future Pop controversial scene, especially in older trailers.


The great influx of the genre has already sparked the late 1990s, growing internal conflicts scene from [6], so that before especially traditional Goth turned away from the traditional party scene, and gothic-rock - dark-wave - and death - rock-organized specific events: [7]


Important representatives


  1. ^ a b c d e f Peter Matzke & Tobias Seeliger ' 'The Gothic and Dark Wave Lexicon, p. 166, Schwarzkopf and Schwarzkopf, Berlin 2003, ISBN 3-89602-277-6
  2. ^ Peter L. Noble:Future Pop. Music for the Eighties, Putnam Pub Group, New York, September 1983
  3. ^ MG Burgheim: Future Pop' Eichborn Verlag, Berlin 1999
  4. ^ Interview Ronan Harris
  5. ^ William George Smith and Henry Wace:A Dictionary of Christian Biography, Literature, Sects and Doctrines, P. 34, 1882
  6. ^ Entry music magazine:Letters, edition 6 / 96, p. 10, December 1996
  7. ^ Axel Schmidt / Klaus Neumann-Braun:The world of goths. Margins dark connotations of transcendence, p. 94, 2004, ISBN 3-531-14353-0