For over a decade, Manchester-born producer Manzur Iqbal, better known as Futurecop!, has been crafting worlds that feel both familiar and fantastical. With roots in retro pop culture and a penchant for synth-driven storytelling, his music has long served as a transportive portal into neon-soaked dreamlands. Now, after a brief hiatus, he returns with ‘Wind, Town & Flowers’, his most expansive, emotionally resonant album yet.
Blending shimmering synth-pop, hyperpop energy, and the ethereal textures of dream-pop and liquid DnB, the new record feels like the soundtrack to a coming-of-age movie you haven’t seen yet, but somehow remember. Inspired by 90s Japanese TV dramas and the bittersweet pull of memory, ‘Wind, Town & Flowers’ paints a vivid picture of youth, nostalgia, and the strange magic of returning to the places that shaped you.
We caught up with Futurecop! to talk about his creative rebirth and why nostalgia still holds so much power in a hyper-digital age.
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Can you tell us a bit about your background and how you got started in music?
It all started years ago with my uni friend Peter. We were obsessed with Justice, the whole Ed Banger scene — that raw energy just pulled us in. But I think the moment it really clicked was when I heard Mylo’s “In My Arms.” That track made me realise we could take the sounds and feelings of our childhood — old music, movies, memories — and reimagine them into something new and emotional. Honestly, we started with zero idea how to make music — just two kids blowing up synths, using dodgy software, and making some really terrible tracks for a while.
Futurecop! began as this fun side project, just two friends experimenting. Over time, the sound evolved, but I’ve always kept that core — heartfelt, nostalgic, ethereal music that feels like a memory.
Who are your biggest musical influences and how have they shaped your sound?
It’s a long list! Everything from The Cure and The Smiths to MGMT, Skepta, Bruce Hornsby, Orbital, even Enigma, Enya and Hans Zimmer. I draw inspiration from so many places. Lately, for my new album, I’ve been obsessed with soundtracks from ’90s and early 2000s Japanese TV shows — stuff like Beach Boys, Orange Days and Love Generation, and their soundtracks. They have this dreamy, cinematic emotion that really resonates with me.
Was there a specific moment or experience that made you decide to pursue music seriously?
I’ve never really seen music as a “career” — it’s more like therapy, or a diary of my life. In the early days, I definitely had that drive to “make it big” in the electronic scene, but around 2014 I realised that chasing success was just creating stress. So I decided to stop trying to please anyone and just make music I love.
That shift changed everything. I found this amazing group of fans who’ve been with me since the beginning — people who really get what I do. That connection is worth more than any chart or award and keeps me making music.
Can you walk us through your typical songwriting process?
It always starts with inspiration. For this album, it came from those Japanese dramas I mentioned. I’ll sit down with my synths, play around with chords or loops, and see what emotions come out. Sometimes it clicks instantly — sometimes it doesn’t. If it feels forced, I walk away. If it feels fun and natural, I keep building on it. The key is to enjoy the process — it has to come from the heart.
How do you find inspiration for your music and lyrics?
It’s usually about love, nostalgia, and the emotions we don’t always talk about — the things buried deep in our hearts. Sometimes it’s spiritual, sometimes motivational, but it always comes from a real place. I want people to feel understood, to know they’re not alone, or just find a bit of peace through the music.
What themes or messages do you hope listeners take away from your music?
I want people to reconnect with who they really are — that pure, innocent version of themselves from childhood. Life moves fast, and we forget that feeling. My music is about slowing down, remembering those emotions, and finding peace in them. It’s okay not to always be striving — sometimes just being yourself is enough. I guess Futurecop! is like a friend whispering to you — no matter who you are or what you’re going through, you’re okay, and you’re great just as you are.
What challenges have you faced as an emerging artist in the music industry?
There were loads in the beginning — people trying to change our sound, pressure to fit into the big EDM world, to be louder, bigger, flashier. At one point, we were touring all over the world with a big team, and from the outside it looked amazing. But I remember standing on a balcony in New York one night, realising I wasn’t happy. That’s when I decided to return to my roots — that moment led to Return to Alvograth and Fairytales. That was me saying: “I’m going to be true to myself again.”
What has been the most rewarding aspect of your musical journey so far?
Honestly, just still being able to do it — and still feeling inspired. Every time I finish an album I love, it’s a little miracle. I’ve always wanted to create for film, and now I’m working on my first movie soundtrack for Ghost Punchers, which feels like a full-circle moment.
How do you stay true to yourself and your artistry in a constantly evolving industry?
It’s easier now. I spend time watching old films, revisiting forgotten music, discovering things I missed growing up — that keeps me grounded and inspired. The hardest part is probably the social media side, haha. I’m naturally quite introverted, so creating content doesn’t come easy. But I do my best to share what feels real.
What can fans expect from you in the near future? Any upcoming projects or tours?
I choose not to do too many shows anymore but I’ve got a show coming up in Paris with TimeMachine1985 (also did the recent single “So Far Away with them) on November 7th at Nouveau Casino. I’m also finishing a score for the upcoming movie Ghost Punchers soundtrack and shooting a new music video in Japan for “I’m Missing You.” We’re filming in Tokyo and the countryside — we even hired a train! It features the Japanese singer YUSA and will be Directed by Anise Mariko, who did the “Edge of the Universe” video. It’s going to be something really special.
Where do you see yourself and your music career in the next five years?
I will still be working on more music but I also think I’ll be doing more film work — scoring, soundtracks, projects that mix visuals and emotion. I love storytelling, and that’s where my heart is right now.
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Watch the video for Futurecop!’s new single ‘Call Me [In The Night]’ below.
