Future Garage

Future Garage is a genre that emerged from the UK underground dance scene in the late 2000s. It blends elements of garage and dubstep with futuristic and experimental soundscapes, creating a unique sonic experience that quickly gained a dedicated fan base. The genre’s origins can be traced back to the distinct musical styles of two UK cities – Bristol and London. In Bristol, the trip-hop movement of the 1990s provided the foundation for the city’s unique take on Future Garage. Artists like Massive Attack and Portishead paved the way for a new wave of experimental beats that combined dub reggae and downtempo electronic music. The scene continued to evolve, with artists like Pinch, Peverelist, and Appleblim bringing a darker, more bass-heavy sound with a dubstep influence. Meanwhile, in London, a new wave of producers were exploring the sounds of garage music, a popular UK genre from the late 1990s and early 2000s. These artists drew inspiration from the rhythmic, swingin’ drums of garage, and incorporated them into their own productions, often with heavy basslines and atmospheric soundscapes. These tracks became known as “future garage,” and the genre quickly gained a following. In the late 2000s, the two scenes began to merge, coming together to create the distinctive sound that we now know as Future Garage. The genre was characterized by its mix of garage and dubstep elements, with 2-step drums, heavy basslines, and atmospheric synths. It also drew on the eclectic, experimental soundscapes of Bristol’s trip-hop scene, creating a unique combination of styles that set it apart from other dance genres. One of the most influential figures in the development of Future Garage was Burial, an anonymous producer from South London. His eponymous debut album, released in 2006, was a groundbreaking work that fused elements of garage, dubstep, and ambient music. Burial’s distinctive, haunting soundscapes and melancholic melodies became a defining feature of the genre, influencing countless artists in the years to come. Other artists that emerged from the Future Garage scene included Mount Kimbie, James Blake, Joy Orbison, and Ramadanman. These producers continued to experiment with the genre, incorporating elements of techno, house, and ambient music to create new variations on the Future Garage sound. The genre continued to flourish throughout the 2010s, with artists like Sepalcure, Jacques Greene, and Girl Unit pushing the boundaries of the scene even further.

Burial: An enigmatic and highly regarded figure in the Future Garage scene, Burial's music often features dark, ethereal soundscapes and mangled vocal samples. His self-titled debut album was released in 2006 to critical acclaim and has been cited as a key influence on the genre. Jamie xx: Although he is perhaps better known for his work with indie band The xx, Jamie xx has also made significant contributions to Future Garage. He frequently incorporates garage and bass elements into his solo work, creating hypnotic, danceable tracks that retain his signature sparse, atmospheric style. Joy Orbison: One of the leading figures in the early Future Garage scene, Joy Orbison's music is characterized by its inventive use of percussion and emphasis on atmosphere. He has released several influential EPs and singles, including "Hyph Mngo" and "Sicko Cell." Mount Kimbie: Consisting of British producers Dominic Maker and Kai Campos, Mount Kimbie's music often straddles the line between post-dubstep and Future Garage. Their sound is marked by intricate percussion and textured, atmospheric instrumentation. Dark Sky: A trio of London-based producers, Dark Sky's music is characterized by its heavy use of bass and intricate rhythms. They have released several EPs and remixes, and are known for their high-energy live sets. Jacques Greene: A Canadian producer known for his soulful, emotive take on Future Garage, Jacques Greene's music often features chopped-up vocal samples and skittering percussion. He has released several EPs and albums, including 2017's Feel Infinite. Kode9: Although he is perhaps better known as the founder of influential dubstep label Hyperdub, Kode9 has also made significant contributions to the Future Garage scene. His music often features industrial textures and distorted basslines. George FitzGerald: A British producer and DJ, George FitzGerald's music often features upbeat, danceable rhythms and bright, melodic synth lines. He has released several albums and EPs, including 2018's All That Must Be. Lone: A British producer known for his eclectic mix of styles, Lone's music often incorporates elements of house, techno, and hip-hop alongside Future Garage. His 2012 album Galaxy Garden was widely praised for its innovative approach to electronic music. Dauwd: A Welsh producer and DJ, Dauwd's music often features intricate percussion and lush, atmospheric synths. He has released several EPs and singles, including 2017's Theory of Colours.

1. Burial - Untrue 2. Joy Orbison - Hyph Mngo 3. Mount Kimbie - Crooks & Lovers 4. Digital Mystikz - Haunted/Anti War Dub 5. James Blake - Klavierwerke EP 6. Disclosure - The Face 7. Dusky - Careless EP 8. Dark Sky - Be Myself EP 9. Four Tet - Rounds 10. SBTRKT - SBTRKT 11. Jacques Greene - Another Girl 12. Bicep - Vision of Love 13. Sepalcure - Love Pressure 14. Lone - Galaxy Garden 15. Zed Bias - Neighbourhood 16. Kode9 & The Spaceape - Black Sun 17. Synkro - Changes 18. Cooly G - Playin’ Me 19. Ikonika - Sahara Michael 20. Martyn - Ghost People 21. Machinedrum - Room(s) 22. Swindle - Long Live The Jazz 23. Fantastic Mr Fox - Evelyn EP 24. Addison Groove - Footcrab 25. Joker - The Vision

In his book, Bass, Mids, Tops: An Oral History of Sound System Culture, Joe Muggs talks about Future Garage as a movement that grew out of the dubstep scene. He notes that it was a natural progression for dubstep producers who wanted to experiment with other sounds and tempos. In his words, "Future Garage was a kind of evolution from dubstep, in the same way, that jungle was an evolution from rave music." Music journalist Angus Finlayson, in an article for FactMag, described Future Garage as "a more emotional and introspective take on UK Bass music." He also highlighted the genre's use of atmospheric textures and slowed down rhythms, which he said create a sense of melancholy and nostalgia. Another notable feature of Future Garage is its emphasis on mood and ambiance. In an interview with The Guardian, producer Burial (known for his ambient take on Future Garage) said, "Everything that creates that little space in the record, like rainy noises or whatever – all the little sounds that make it a record… I find that really intoxicating." However, not everyone has been enthusiastic about Future Garage. Electronic music critic Simon Reynolds, in his book Retromania, accuses the genre of being "a retreat from the present." He argues that Future Garage is part of a wider trend in electronic music that yearns for the past, at the expense of innovation and progression. Producer and DJ Sully, on the other hand, feels that Future Garage is too derivative of other genres. In an interview with Juno Plus, he said, "I think Future Garage is a stepping stone to making more experimental music, but I think it's too easy to recycle what's already been done." Despite these criticisms, Future Garage has continued to be a popular genre, with new producers and labels emerging regularly. In a 2010 article for Dummy Mag, writer Richard Klein described the appeal of Future Garage as "the emotional depth and subtlety of ambient music, with the club sensibilities of garage and dubstep." He suggested that the genre's popularity was due, in part, to the fact that it allows producers to experiment with different sounds and ideas in a way that is not possible in more mainstream genres.

The social and cultural context that led to the rise of Future Garage can be traced back to the late 1990s and early 2000s when dance music was undergoing a transformation. House and techno music were leading the way, but a new sound was developing that blended elements of UK garage, dubstep, and grime. This new sound was characterized by dub basslines, shuffle drum patterns, and a focus on melody. This new sound was embraced by urban youth culture, particularly in London and other UK cities. The music embodied the optimism and energy of a new generation looking to make its mark in a rapidly changing world. It also had a distinctive DIY ethos, with producers and DJs creating new sounds using cheap software and equipment. Record labels played a key role in the development of Future Garage, with early examples including Hotflush Recordings, Hessle Audio, and Hyperdub. These labels provided a platform for new talent to be heard and established a distinctive aesthetic for the music. Journalists also played an important role in promoting the genre. The influential UK magazine The Wire featured articles on Future Garage and its related genres, helping to introduce the music to a wider audience. Technological developments also played a key role in the emergence of Future Garage. The widespread availability of music production software such as Logic and Ableton Live allowed producers to create music at home, without the need for expensive studio equipment. This led to an explosion of new talent, with producers such as Burial and Jamie xx creating influential tracks using only a laptop and some headphones. Future Garage also emerged at a time when the internet was becoming increasingly important for music distribution and promotion. Platforms such as Soundcloud and Bandcamp allowed producers to reach a global audience, while online communities such as Dubstep Forum provided a space for fans and producers to share new music and discuss trends. The rise of Future Garage can also be seen in a wider context of cultural change in the UK. The early 2000s saw the emergence of new movements in art, fashion, and literature, with a renewed interest in DIY culture and an emphasis on authenticity and sincerity. Future Garage embodied many of these values, with its focus on melody and emotion, and its rejection of mainstream commercialism.