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On Futuromania and closing and opening of musical horizons.

We talk to renowned music critic Simon Reynolds about his new book. A counterpart of sorts to his famous Retromania (2011), Futuromania looks at the exciting futuristic music of the past and present. We discuss its themes to try understand whether the culture is still about to throw up something new.

Is talk about popular music stuck between the poles of “rockism” and “poptimism”?

How did Donna Summer and Giorgio Moroder invent "electronic dance music"?

Why is "future music" good? What are its pitfalls?

How did Daft Punk run out of futurity?

Why is Auto-Tune actually not the worst invention?

How are genres like trap technically exciting but thematically glum?

Is there any way of bringing the future back?

Links:

Futuromania: Electronic Dreams, Desiring Machines, and Tomorrow's Music Today, Simon Reynolds

blissblog, Simon Reynolds blog

Futuromania companion playlist with Reynolds' introductions, on NTS: https://www.nts.live/shows/guests/episodes/simon-reynolds-9th-april-2024

Futuromania companion playlist on Spotify

No Bells music blog

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Comments

Neto

Great episode, thanks all. I share w/ SR his taste in trap, specifically its treatment of voice as a manipulable sound object (plus it slaps). I wonder what he’d make of so called Club music, e.g. NAAFI in Mexico, PAN in Berlin, insofar as future looking music is concerned?

Daniel L

Glad to hear (at a bit past the hour mark) music other than UK-US-German getting a mention. Unlike film for example, "popular music" is often conceived of in such a narrow way in the Anglosphere.

Subliminal_Kid

Thanks for mentioning NTS radio on the episode (at least I think you did). Anyway I stumbled upon it after your podcast and I'm thrilled. Adventurous music of past and future 24/7. I feel reminded of the good old pirate radio days ...