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‘We Are Phuture’: Electronic Music’s Final Frontier

By: Chal Ravens

A new essay collection by veteran music critic Simon Reynolds tracks how electronic music’s future-forward tendency became sounds that eulogised progress in the twenty-first century.

(Photo by Marco Piraccini / Archivio Marco Piraccini / Mondadori via Getty Images)

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In 1977, Giorgio Moroder laid down the grid-like groove of Donna Summer’s ‘I Feel Love’ and established a new electronic paradigm for pop. So began a period of machine-made acceleration that remains the conceptual bedrock of every sound in Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today, a book about our dreams of the […]

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In 1977, Giorgio Moroder laid down the grid-like groove of Donna Summer’s ‘I Feel Love’ and established a new electronic paradigm for pop. So began a period of machine-made acceleration that remains the conceptual bedrock of every sound in Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today, a book about our dreams of the […]

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In 1977, Giorgio Moroder laid down the grid-like groove of Donna Summer’s ‘I Feel Love’ and established a new electronic paradigm for pop. So began a period of machine-made acceleration that remains the conceptual bedrock of every sound in Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today, a book about our dreams of the […]

In 1977, Giorgio Moroder laid down the grid-like groove of Donna Summer’s ‘I Feel Love’ and established a new electronic paradigm for pop. So began a period of machine-made acceleration that remains the conceptual bedrock of every sound in Futuromania: Electronic Dreams, Desiring Machines and Tomorrow’s Music Today, a book about our dreams of the […]

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