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New article about Futurepop; credit to Google Translator, from the German-language Wikipedia. GFDL, CC-by-SA, and all that.
'' 'Future Pop''' is in the second half of the 1990s, arising style of [[Electronic Dance Music | Electronic Dance Music]], which, with its clean, danceable song structures in 4/4-time on [[Synthpop | Electro Pop-recourse]] - and [[Techno Trance (Music) | Trance]] components. Moreover, one sees the roots of this in the [[Electronic Body Music | EBM]] anchored, although sound <ref Name="Matzke/Seeliger"> Peter Matzke & Tobias Seeliger ' 'The Gothic and Dark Wave Lexicon'', p. 166, Schwarzkopf and Schwarzkopf, Berlin 2003, ISBN 3-89602-277-6</ref> 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). <ref>[Http://www.amazon.com/Future-Pop-Eighties-Peter-Noble/dp/0933328702 Peter L. Noble:''Future Pop. Music for the Eighties'', Putnam Pub Group, New York, September 1983]</ref> <ref> [http://www.perlentaucher.de/buch/2005.html MG Burgheim: Future Pop'''' Eichborn Verlag, Berlin 1999] </ref> However, also takes Ronan Harris of VNV Nation have claims for itself, coined the term. <ref> [http://sortedmagazine.com/Sordid.php3?nID=261 Interview Ronan Harris] </ref> Outside the context of pop music going back to the 19th century. <ref> William George Smith and Henry Wace:''A Dictionary of Christian Biography, Literature, Sects and Doctrines'', P. 34, 1882 </ref> 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 [[compilation (music) | compilations]] on the German label [[Angel Star]] ('' 'Future Pop: The Best Of Modern Electronic "'', 2001) and [[Zoomshot Media Entertainment]] ('' 'Future Pop Generation'', 2002).
== History ==
Initial attempts to overlay it already had the early and mid 1990s. To spread to include the shrunken to electro-pop duo project [[Camouflage (band) | Camouflage]] isolated techno and trance elements and had the''maxi "Suspicious Love''(1993) some success. The [[Wave Electro | Electro-Wave]] formation [[Fortification 55]]''published 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 (band) | Delay]] ('' 'Soul Cremation "'', 1995 ), [[Distain!]] (''Remote Control'', 1996) or [[Rame (band) | Rame]] (''Space's Embrace "'', 1996) observed.
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At the same time, the maxi'' 'Non-Stop Violence''(published 1995) and''the album "7"''(1996) by [[Apoptygma Berzerk]], where already some changes from previous releases the band were making. Thus, both'' 'Non-Stop Violence possess "''Tracks''and the" Deep Red "''and''Love Never Dies"''already technoid basic structures. Three years later, the''maxi "Eclipse" came on the market''. '' 'Eclipse'''should be regarded as one of the first Future-pop tracks. In parallel, the UK project [[VNV Nation]] album''empires''(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 | Media Control]] chart. All three bands were previously in the Electronic [[Electro (generic name) | Electronic]] - and [[Pop music | electro-pop]] area is active, however, shared by their increasing devotion to trance as a style icon for Future Pop.
== Reception ==
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 (music) | 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 [[Electro (generic name) # Aggrotech | 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.
{{Citation |''It outweigh track structures such as the techno. [...] Clear sounds, rhythms, consistent with the 140 BPM from tension, partial withdrawal of beat or sound parts, breaks and catchy melodies. Strictly speaking, can be no compelling differences chart-compatible dance techno determine, except that which can be found with the term "Future Pop" occupied protagonists just within the black scene. [...] To "party" has been an important aspect. <ref> Axel Schmidt / Klaus Neumann-Braun:''The world of goths. Margins dark connotations of transcendence'', p. 273, 2004, ISBN 3-531-14353-0 </ref>}}
The great influx of the genre has already sparked the late 1990s, growing internal conflicts scene from <ref> Entry music magazine:''Letters'', edition 6 / 96, p. 10, December 1996 </ref>, so that before especially traditional [[Gothic (Culture) | Goth]] turned away from the traditional party scene, and [[Gothic Rock | gothic-rock]] - [[Dark Wave | dark-wave]] - and [[Deathrock | death - rock]]-organized specific events: <ref> Axel Schmidt / Klaus Neumann-Braun:''The world of goths. Margins dark connotations of transcendence'', p. 94, 2004, ISBN 3-531-14353-0 </ref>
{{Citation |''There is now real "anti-Future-Pop" events. If that is already on the flyer, which is an indication that people are slow enough for them.''| Paul Cuska, journalist, musician and label owner from Strobelight Records, 2004 | Rebecca Elizabeth <ref> Härtl:''Strobelight Records - Label Report'', "Black" music magazine, issue 36/04, p. 37, Summer 2004 </ref>}}
== Important representatives ==
* [[Angels & Agony]]
* [[Apoptygma Berzerk]] <ref name="Matzke/Seeliger"/>
* [[Assemblage 23]] <ref name="Matzke/Seeliger"/>
* [[Blutengel]]
* [[Colony 5]]
* [[Covenant]] <ref name="Matzke/Seeliger"/>
* [[Icon of Coil]] <ref name="Matzke/Seeliger"/>
* [[L'Âme Immortelle]]
* [[Massiv in Mensch]]
* [[Mind.in.a.box]]
* [[NamNamBulu]]
* [[Neuroticfish]]
* [[Pandique]]
* [[Rotersand]]
* [[Seabound]]
* [[Solitary Experiments]]
* [[State of the Union (band) | State of the Union]]
* [[T.O.Y.]]
* [[Frozen Plasma]]
* [[VNV Nation]] <ref name="Matzke/Seeliger"/>
== References ==
<references />
[[Category: Electronic dance music]]
[[Category: Pop music]]
==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). <ref>[Http://www.amazon.com/Future-Pop-Eighties-Peter-Noble/dp/0933328702 Peter L. Noble:''Future Pop. Music for the Eighties'', Putnam Pub Group, New York, September 1983]</ref> <ref> [http://www.perlentaucher.de/buch/2005.html MG Burgheim: Future Pop'''' Eichborn Verlag, Berlin 1999] </ref> However, also takes Ronan Harris of VNV Nation have claims for itself, coined the term. <ref> [http://sortedmagazine.com/Sordid.php3?nID=261 Interview Ronan Harris] </ref> Outside the context of pop music going back to the 19th century. <ref> William George Smith and Henry Wace:''A Dictionary of Christian Biography, Literature, Sects and Doctrines'', P. 34, 1882 </ref> 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 [[compilation (music) | compilations]] on the German label [[Angel Star]] ('' 'Future Pop: The Best Of Modern Electronic "'', 2001) and [[Zoomshot Media Entertainment]] ('' 'Future Pop Generation'', 2002).
== History ==
Initial attempts to overlay it already had the early and mid 1990s. To spread to include the shrunken to electro-pop duo project [[Camouflage (band) | Camouflage]] isolated techno and trance elements and had the''maxi "Suspicious Love''(1993) some success. The [[Wave Electro | Electro-Wave]] formation [[Fortification 55]]''published 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 (band) | Delay]] ('' 'Soul Cremation "'', 1995 ), [[Distain!]] (''Remote Control'', 1996) or [[Rame (band) | Rame]] (''Space's Embrace "'', 1996) observed.
<br>
<center>
<adsense>
google_ad_client = 'pub-4781341637005814';
google_ad_width = 468;
google_ad_height = 60;
google_ad_format = '468x60_as';
google_ad_type = 'text_image';//2006-12-28: MyWikiBiz Directory space
google_ad_channel = '2388332058';
google_color_border = '6699CC';
google_color_bg = '003366';
google_color_link = 'FFFFFF';
google_color_text = 'AECCEB';
google_color_url = 'AECCEB';
</adsense>
</center>
<br>
At the same time, the maxi'' 'Non-Stop Violence''(published 1995) and''the album "7"''(1996) by [[Apoptygma Berzerk]], where already some changes from previous releases the band were making. Thus, both'' 'Non-Stop Violence possess "''Tracks''and the" Deep Red "''and''Love Never Dies"''already technoid basic structures. Three years later, the''maxi "Eclipse" came on the market''. '' 'Eclipse'''should be regarded as one of the first Future-pop tracks. In parallel, the UK project [[VNV Nation]] album''empires''(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 | Media Control]] chart. All three bands were previously in the Electronic [[Electro (generic name) | Electronic]] - and [[Pop music | electro-pop]] area is active, however, shared by their increasing devotion to trance as a style icon for Future Pop.
== Reception ==
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 (music) | 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 [[Electro (generic name) # Aggrotech | 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.
{{Citation |''It outweigh track structures such as the techno. [...] Clear sounds, rhythms, consistent with the 140 BPM from tension, partial withdrawal of beat or sound parts, breaks and catchy melodies. Strictly speaking, can be no compelling differences chart-compatible dance techno determine, except that which can be found with the term "Future Pop" occupied protagonists just within the black scene. [...] To "party" has been an important aspect. <ref> Axel Schmidt / Klaus Neumann-Braun:''The world of goths. Margins dark connotations of transcendence'', p. 273, 2004, ISBN 3-531-14353-0 </ref>}}
The great influx of the genre has already sparked the late 1990s, growing internal conflicts scene from <ref> Entry music magazine:''Letters'', edition 6 / 96, p. 10, December 1996 </ref>, so that before especially traditional [[Gothic (Culture) | Goth]] turned away from the traditional party scene, and [[Gothic Rock | gothic-rock]] - [[Dark Wave | dark-wave]] - and [[Deathrock | death - rock]]-organized specific events: <ref> Axel Schmidt / Klaus Neumann-Braun:''The world of goths. Margins dark connotations of transcendence'', p. 94, 2004, ISBN 3-531-14353-0 </ref>
{{Citation |''There is now real "anti-Future-Pop" events. If that is already on the flyer, which is an indication that people are slow enough for them.''| Paul Cuska, journalist, musician and label owner from Strobelight Records, 2004 | Rebecca Elizabeth <ref> Härtl:''Strobelight Records - Label Report'', "Black" music magazine, issue 36/04, p. 37, Summer 2004 </ref>}}
== Important representatives ==
* [[Angels & Agony]]
* [[Apoptygma Berzerk]] <ref name="Matzke/Seeliger"/>
* [[Assemblage 23]] <ref name="Matzke/Seeliger"/>
* [[Blutengel]]
* [[Colony 5]]
* [[Covenant]] <ref name="Matzke/Seeliger"/>
* [[Icon of Coil]] <ref name="Matzke/Seeliger"/>
* [[L'Âme Immortelle]]
* [[Massiv in Mensch]]
* [[Mind.in.a.box]]
* [[NamNamBulu]]
* [[Neuroticfish]]
* [[Pandique]]
* [[Rotersand]]
* [[Seabound]]
* [[Solitary Experiments]]
* [[State of the Union (band) | State of the Union]]
* [[T.O.Y.]]
* [[Frozen Plasma]]
* [[VNV Nation]] <ref name="Matzke/Seeliger"/>
== References ==
<references />
[[Category: Electronic dance music]]
[[Category: Pop music]]