The story of Future Garage: a journey into another UK genre that evolved before it peaked
As a music producer, I have explored various genres throughout my journey, but none have resonated with me as deeply as Future Garage. Future Garage is my “home genre” – a place where I always feel safe and can return to. It is the only genre where I have historically experienced a true sense of community and support around me.
Future Garage is a genre that originated from the UK electronic music scene. It often combines elements of UK Garage, Dubstep, and atmospheric vibes. However, the only essential rule is that it includes the key elements of UK Garage; everything else is open to experimentation.
In this article, I will explore the history and evolution of Future Garage, sharing my personal experiences and reflections on its significance. Join me on this journey of self-discovery and musical exploration as we delve into the world of Future Garage.
Finding my sound: Future Garage
These last few months have given me some time to finally reflect and get back to my music production. I’ve been on a ride for the last five years, experimenting and not feeling like I had a real home for my music.
When I started producing music, I wasn’t worried about genres or rules. But as I evolved as an artist, I found aspects that stuck with me. Nothing has resonated with me like Future Garage did.
Future Garage was the first “scene” I found, around 2007, where I felt included and the sound defined who I wanted to be as a music producer. The genre provided a liberating and inclusive space for new sounds. It was a sonic landscape that allowed me to experiment with atmospheric textures, intricate drum patterns, and emotive melodies. Future Garage offered a unique blend of nostalgia and innovation, with its fusion of UK Garage’s rhythmic sensibilities and Dubstep’s bass-heavy soundscapes.
How I became a Future Garage producer
The first genre of music I produced was Hip Hop, but I always had a unique and darker approach to it. As I continued producing, I began to take it more seriously. Around the time Grime gained popularity and Hip Hop lost its prominence in the UK, I started studying music production and attending actual club events. This influenced my desire to create music that:
- Involved sound design and “darker/deeper” elements
- Wasn’t as “hard coded” with rules, as Hip Hop was
- Spoke to the emotions I felt and loved around electronic music
- Generally had more singing in it
I initially started with Trip Hop, which I enjoyed making, but felt that it was not quite what I was looking for. However, it did make me realise that whatever genre I was working with should be UK-born, in order to remain true to my roots.
With Future Garage, I finally found my own sound. After about a year of producing Future Garage, I had an EP signed to L2S Recordings in 2011. This solidified my position as an early producer within the scene.
L2S was owned by the pioneering producer and record label boss Whistla, who coined the term Future Garage and its philosophy. L2S was a top class stable in Future Garage, and my label mates included some of the most recognised artists in the genre such as Sorrow, Submerse and Karma Kid, to name a few. DJ Mag covered Future Garage in one of their 2010 editions, which gives a brief overview of what was happening around the time.
I attended several popular Future Garage nights in the UK and Europe and became friends with the DJs. Despite never being huge events, they always had an exclusive and inclusive atmosphere. However, over time, they lost momentum. Some of the more well-known pioneering producers started exploring different genres, leading to the gradual disappearance of the scene.
I was always proud to release on L2S because I knew that even though the movement never gained mainstream popularity at the time, we still did something that changed electronic music forever.
Nu metal and its relation to Future Garage (for me at least)
Let’s zone in on the few mentions I’ve made of “dark” music so far. Hear me out… This is a bit of a weird one but it does make sense.
The teenage years play a crucial role in shaping music preferences, thanks to a combination of brain development, emotional changes, and peer influence. The still-developing prefrontal cortex affects judgment and preference, while the intense emotions of adolescence make music a powerful tool for forming identity. Peer groups also have a significant impact on musical choices, making this period essential for establishing lifelong music preferences.
My first music obsessions as a fan were “the black-hoodie collections” of Grunge, Metal and Nu-metal. I was one of these oversized-hoodie-wearing angry Korn and Slipknot fans.
But upon reflection, and I didn’t fully realise it at the time, one of the main things that caught my attention were the contrasting elements between the spacey atmospherics and the intensity of the distortion, as well as the punch in the drums and rhythms.
My journey to “melody, melancholy, distortion and delay” (MMDD) began here (which I’ll explain further in the article) and has remained a recurring theme in my own production.
However, I haven’t always been exclusively loyal to MMDD as a listener. There have been times when I temporarily strayed from it as a producer.
Why I got into dance music
I never stopped loving my Rock roots. But the Nu metal era came to a head. And, as a teenager, you find the next thing. The next thing for me was the Slim Shady LP and my Hip Hop era. As I got into producing, I brought it home – it had to be UK Hip Hop and I got obsessed with Plan B and The Streets. I started producing when I was 13-14 and mainly made like non-conventional Hip Hop kind of stuff, then Grime. Once I was 18, the dance music stepped in as pubs, bars and clubs became my frequent establishments of choice.
My first real experience with club music (as an experience not just something happening around me) was much earlier; my Mum buying me a 3-CD Cream Classics compilation album when I was about 15, and watching Human Traffic bunnin’ spliffs with the homies.
But even before that, the 90s and early 00s were a blessing for electronic music on commercial radio. Artists like Fatboy Slim, Chemical Brothers, Basement Jaxx, and Prodigy dominated the scene. There were various genres such as Trance, Big Beat, House, UK Garage, Hardcore, and Jungle. Dance music was thriving. However, there was also another side to electronic music – the chillout genre. Artists like Zero 7, Moby, Morcheeba, Groove Armada, Air, Royksopp, and others created a different kind of vibe. This music had always been a significant part of my life. I grew up in a household where music was cherished. I listened to and loved it, but it wasn’t until my late teens that I truly identified with it.
Then there was Trip Hop, which, with its darker vibes, became the stepping stone between Dance music and Nu metal for me. It was the genre that made sense and brought together what would become a big part of my interest in Future Garage.
However, my concept of club music initially originated as a euphoric and joyous experience. It serves as a space where you can immerse yourself in the music and be embraced for your true self, as long as you show respect for others. This is one of the reasons why Future Garage resonated with me more than the Dubstep scene did.
Bringing it all together into Future Garage
Nobody wants to be pigeonholed, so I explored various genres and sounds. When I discovered Future Garage, it became the first “scene” where I felt a sense of belonging. The sound of Future Garage defined the kind of music producer I aspired to be. Although the scene eventually dispersed, I distanced myself from Future Garage for a considerable period. During this time, I recognised the importance of other elements in music that resonated with me. When I could finally define “my sound” I condensed then description down to “MMDD”:
- Melody
- Melancholy
- Distortion
- Delay
This is not clear-cut. I find harmony to be just as enjoyable as melody. Distortion can resemble “saturation,” and “delay” often refers to a spacious reverb and atmospheric soundscape. However, this framework leads me to reflect on my own self-understanding.
Becoming an artist is a journey of self-understanding, which involves reflecting on the things you love in music.
The birth of Future Garage: a fusion of influences
The origins of Future Garage can be traced back to the early 2000s, as a response to the evolving UK Garage and Dubstep scenes.
Although artists like Burial, Four Tet, and Mount Kimbie are often cited as pioneers of the genre for their experimentation with a slower, more atmospheric sound that incorporated elements from both genres, it’s important to note that Future Garage was a scene that extended beyond these artists. Unfortunately, the rest of the scene is rarely given due credit.
Future Garage was not just a new direction that incorporated the deeper, darker elements of Dubstep. It was a broader movement focused on the evolution of Garage music away from its gatekeeping UKG predecessors. While the genre is now often associated with deeper and darker elements, it originally started as a sonic exploration that captivated listeners and paved the way for the emergence of Future Garage as a distinct genre.
Brits and the hardcore continuum
The hardcore continuum is a theory that explains how UK electronic music evolved out of rave/hardcore, through Jungle into 2-step Garage (and subsequently into Dubstep and then Future Garage, which I’ll talk about a bit more below).
2-step Garage did not evolve from Garage House, as visualised in this amazing timeline of electronic music. While this timeline is highly treasured and not at all discredited, I believe it is incorrect for this particular strain.
As we explore Future Garage more deeply, I will explain how it has become closely related to 2-step. However, this is not a strict rule of Future Garage, as we can also find breakbeats and UK Funky rhythms being incorporated into the genre. Hopefully, this will reduce the association with 2-step to some extent (although I typically prefer 2-step). For instance, my good friend Brock UK has introduced a unique interpretation of Speed Garage within the Future Garage genre. He has also been involved in Future Garage since its early days.
Dubstep
Around 2008-2010 the defined “Dubstep” really hit England. That was going to be my genre for a while.
Dubstep was the first genuine musical scene and culture to emerge in UK electronic music during a stage of my life when I was old enough to go clubbing. I had been going out for a few years prior, but the music played was all nods to nostalgia and the bygone golden days.
Now, I felt actually part of the scene, not a punter to it.
Dubstep was great for a while. However, with the increasing prevalence of ketamine, the music shifted from being deep to being loud and rowdy. It was at this point that I realised the music no longer aligned with the part of myself that craved fun, sexuality, happiness, and a sense of flow. This is when I discovered the importance of incorporating elements like shuffle and swing into my music, and learned how they affect the way the two different music types are danced to. Later, I realised that my production would be more focused on the “craving” rather than the previously outlined positive emotions.
It’s probably time to mention Burial…
Burial
As with everybody who loves Burial, the first time I heard his music I was blown away. The first track I heard of his was Ghost Hardware, and for me; it wasn’t about the beats and incidental sounds so much as the ghostly vocals and ambient pads, which was something I was trying to get right from the Trip Hop I was making through my Dubstep period.
One thing that really struck a chord with me (as well as many others) about Burial was his comments in interviews about his music. He described it as a way to capture the sound of walking past a club and hearing it from the outside, rather than being inside. This, along with the evident melancholy and emotional impact, resonated deeply with me.
Burial had a unique sound of his own, so I find it strange when he is now classified as Future Garage. Future Garage is also used interchangeably with his sound, even though it encompasses much more than just the Burial sound.
Meanwhile, artists like Fred Again.. can also be classified as Future Garage. Some people say his music is similar to Burial, but I personally don’t hear that resemblance at all.
Fred, however, has used snippets of samples from YouTube in a similar way to Burial, which I will explain shortly…
The sound of Future Garage
Future Garage was inspired by producers like El-B (often cited as a pioneer of Dubstep) who echoed the sentiment that UKG had gone stale and was gate-kept.
Both the Wikipedia description and new followers would likely describe Future Garage as characterised by its intricate drum programming, atmospheric textures, and ethereal melodies. The genre often incorporates chopped and pitched vocal samples, creating a haunting and introspective atmosphere.
Contemporaries would describe the beats in Future Garage as generally relaxed and syncopated, creating a captivating rhythmic complexity. The addition of reverberation and delay effects adds depth and spaciousness to the sound, enhancing the atmospheric qualities of the music.
This is the “Burial” side of Future Garage, which is typically associated with the entire genre. However, Future Garage encompasses much more than just this sound. That is why artists like Fred Again.. are often labelled as Future Garage, even though they don’t have any of those characteristic sounds.
The defining characteristics of Future Garage come from the staple beats and tempos used in the original UK Garage sub-genres, specifically the swing and shuffle of 2-step. The “dark” and “haunting” elements are simply another sub-genre within Future Garage.
This also means that any “post Burial” atmospheric music that doesn’t have a UKG-like beat (such as some Autonomic DNB, or “Chillstep” with the snare on the 3rd) isn’t Future Garage and shouldn’t be described as such.
The rules of Future Garage were simple: it combined beats from original UK Garage, basslines from UK underground electronic genres, and often included vocal chops reminiscent of those made famous by UKG.
It was all about small rooms, “basement clubs,” loud sound systems, and an intense amount of smoke. It was great. I went to these events with friends, danced for hours on my own, feeling the music, and occasionally met up outside in the smoking area for a catch-up.
Future Garage, at the time, was at its peak as a melancholic, euphoric, post-Dubstep nod to UKG. It was characterised by big drums with 2-step beats, pitched reverberating vocal snippets, heavy bass, and lush pads. Like Burial, we recognised the enduring magic in those punchy drums, heavy basslines, pitched vocals, and atmospheric elements. These are also elements that Fred Again.. incorporates in his music. Future Garage is way more than simply trying to sound like Burial.
Why all these pitched vocals anyway?
Well, they were popular in UK rave music because, at the time, samplers couldn’t increase the speed of audio without also changing the pitch. This technique was still used stylistically in DNB and UKG in the 90s, although sampler technology was improving in correcting formants. This allowed producers to speed up vocals while keeping the pitch the same, which they generally preferred in most cases.
Future Garage was intended to be a more inclusive safe-haven for new Garage sounds, expanding beyond the confines of the UK and without any strict “rules” except for a Garage beat (which includes the necessary swing, also known as “swivel” according to pioneer Whistla).
The impact of Future Garage
Future Garage opened the door to remove the “UK” from Garage. Without the Future Garage movement, there would be fewer DJs interested in supporting the genre, as the original UKG DJs refused to support anything outside of their clique and circuit.
Despite its underground origins, Future Garage has had a significant impact on the electronic music landscape. Its influence can be heard in various genres, ranging from the more experimental realms of IDM and Ambient to the more mainstream realms of Pop and House.
Future Garage has also played a crucial role in pushing the boundaries of electronic music, encouraging artists to explore new sonic territories and challenge traditional genre conventions.
The future of Future Garage
Future Garage continues to evolve as a genre, constantly pushing boundaries and incorporating elements from other genres. It has become a dynamic and exciting genre that captures the hearts and minds of both artists and listeners. The fusion of influences and the constant experimentation within Future Garage ensure its continued relevance and appeal.
Originating from the UK electronic music scene, Future Garage draws inspiration from UK Garage, Dubstep, and atmospheric vibes. While it includes elements of these genres, Future Garage is not limited by strict rules and encourages experimentation. The genre’s ability to adapt and evolve is a testament to its enduring power and influence.
As Future Garage evolves, artists are constantly pushing the boundaries and experimenting with new production techniques. They draw inspiration from genres like Deep House and UK Funky, incorporating lush pads, swing, vocal pitching, and thumpy basses. The genre’s sound has expanded beyond its traditional atmospheric textures and ethereal melodies, incorporating elements from other genres to create a captivating sonic experience.
While Future Garage is often associated with its “Burial” side, characterised by melancholic and atmospheric sounds, it encompasses much more than that. Artists like Fred Again.. bring new sounds and philosophies to the genre, incorporating elements of UK Funky and experimenting with sampling techniques that resonate with a modern audience.
Future Garage’s influence can also be seen in other genres, such as Autonomous DNB and ambient music. While these genres may have evolved from Future Garage’s ambience and sound selections, they are distinct genres in their own right and should not be classified as Future Garage.
Some popular artists in the Pop genre who have incorporated Future Garage sounds in their music over the past 10 years include:
- James Blake – Known for his soulful vocals and atmospheric electronic production, James Blake has seamlessly blended elements of Future Garage into his music, creating a unique and captivating sound.
- FKA twigs – FKA twigs has been praised for her experimental approach to Pop music, often incorporating elements of Future Garage in her production. Her ethereal vocals and atmospheric soundscapes have resonated with audiences worldwide.
- The Weeknd – While primarily known for his R&B and Pop sound, The Weeknd has explored different genres throughout his career, including Future Garage. His use of atmospheric textures and emotive melodies can be heard in several of his songs.
- The 1975 – The 1975 have also used Future Garage influence in their music.
In conclusion, Future Garage continues to captivate audiences worldwide with its mesmerising sounds and boundless possibilities. It remains a genre that invites listeners to explore new realms of emotion and atmosphere. As artists continue to borrow and influence from other genres, Future Garage’s evolution knows no bounds. Let us embrace the beauty and innovation of Future Garage and celebrate its power to connect and inspire us all on this transformative musical journey.
Work with me
I am a professional music producer specialising in underground-style UK Electronic music with elements of melody, melancholy, distortion, and atmosphere. I have a degree in music production and have produced for several artists who have gone on to achieve high-profile success, both with major labels and independently.
My work for hire fee starts at £600 per track. I have access to professional recording studios in London and Brighton. Please click here and fill out the following form to let me know about your project and needs: