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OPs point was not only the melodic one, to which I agree certainly if we take popular music, to a large extent music eg. in the charts is melodic. Except much of this hiphop shit fashionable in the last years. The Op also provided some names as example what he meant has future, eg. Vini Vici or Astrix IIRC. So I looked up Vini Vici tracks (I posted 2 above) and did not find them futuristic or bringing something new to the table (I found them a bit cheesy tbh), so was wondering why this would have future in particular? But if cheese and age old concepts are now the future ok - then I am not :) You could have looked up remixes yourself, there are enough: https://www.youtube.com/results?search_query=einstürzende+neubauten+remix Also Skinny Puppy have more then enough, and only some tracks are known for the melodies, in fact much of theirs were also quite noisy: https://www.youtube.com/results?search_query=skinny+puppy+remix But I guess in the end it is a matter of taste, or of own definition of a term "has a future" or "is dead" (in musical terms, not medical LOL)

Sure, that's why I said: That's distinct from the OP's point, which should be graspable and nothing to argue with, really, even if it means fuck-all about what music actually cranks yours or my sockets. Why are fans of an obscure underground-ish genre surprised at hook-laden catchy-riff music going viral and being popular n stuff? "bbut but my favorite music is valid!" Indeed it is. And Boris Blenn is now joined with Blue Planet Corp, can I get any more B's for 10 points anyone? Born Slippy vs Bob Miles "Children" for virality, OP's point notwithstanding? It's a draw folks! Perhaps the former get's played only as the original, whereas the latter is likely ripe for a Vini Vici remix

if you keep listening to it, it will

Well it sparked a discussion about psytrance, so it seems like the appropriate forum to me.

? as far as I can remember, for a techno track to be remixed outside of it's original release frame/promo campaign there's typically a signature melody... which techno tracks that don't have signature melodies, riffs, hooks, of some kind get remixed a decade later? I'll grant you that a vocal hook or rhyme or rap will suffice, like that insipid "they don't know what is what, they just strut, what the fuck" track... I don't understand how this refutes the videos point that one needs something musically iconic as content for a remix. ones' kick drum isn't sufficient material for a remix, or maybe I'm missing out on something major here? Hey wow, I became "enlightened ape"! I love that album. Shakta has loads of signature hooks/melodies, lol

I don't think it necessitates an "ultra cringe-worthy cheese fest" as simplistic major/minor diatonic chord progressions are typically more cheesy than richer harmony. Voice leading, my friend. Do you imagine that one jumps up and down like a silly Balearic rabbit? Consecutive chords in a GOOD professional level chord progression usually share notes in common and half-step movement in resolution is ideal. One voices the chords and inversions and notes with sophistication and maturity. I'm familiar with arpeggiators and delay effects, and it's true that one must take care for the space of a mix, but this is tangential, I would say. What I generally feel in most "formula" prog and fullon is this minor triad "sigh" as the only harmonic context beyond the bassline indicating the key we are in. I need a little more to FEEL actual human emotions. I sincerely doubt that anyone in their right mind would call the superlocrian mode "cheesy", or any other modes of the harmonic minor scale, for example. Don't confuse poor initial compositional results and first attempts with a bad conceptual approach. Honestly, you should just work on your prog-rock attempts more and after significant effort you may find that you have something amazing. No one said that achieving the next level in psychedelic trance was easy. Maybe you will bring some cool new fusion to this world! I think that one will pass through many throw-away melodies and harmonic structural ideas before one arrives at something that SOUNDS good. One must be ruthless and not settle for the first thing that comes along. Often times one can recontextualize the chords with regards to the bassline, "counter-tonic", relative-major/minor, recontextualizing a sustained minor triad as the 3-5-7 of a new 1, etc. The chord voicings and the VOICE-LEADING are what will determine the meaning (context) of a melody, and this can be as subtle or as obtuse as you make it. Honestly, I think that the reason most dark psy features very little melody is this fear of "oh that's cheesy" when one first even begins messing around with a synth. One must embrace the initial cheese, study music more, and then improve the cheese until it's a 3-year aged fine parmesan lol...

the whole point of the op can be easily refuted with a single word: Techno.

I'm so very sorry for insulting you personally rather intentionally, clearly. Back to the point: Are they being remixed? (Einstürzende Neubauten) and isn't Kraftwerk precisely being remixed due to their iconic melodies? I rather agree with the video's point. Without an iconic melody or, i don't know, hmmmm "musical hook", a song has little to offer a remixer nor cover by another musician. I'm not sure that you challenged this point here. The OP was referring to a song's virality, durability, re-digestability, and while I even provided avante-garde cover for being able to consider an iconic rhythm or abstract sound to be memorable musical content that could be remixed, I don't see a single comment referencing the 500 word essay I provided you on the topic. Don't worry, however, as I'm not insulted

I think I can be a bit more helpful. Psytrance is missing "HARMONY". We have melodies. That's only a single note at a time, plus a more-or-less droning bassline. People occasionally get jiggy with the bassline, but I will readily acknowledge that rapid chord progressions in which the bassline changes tonic notes all the time can be nauseating at times, rather like an airplane changing altitude a lot and often. What is missing are harmony lines that go WITH that melody and imply the richer harmonic world of chords and, well, harmonies. It's common for choral works to be written with 4 parts of harmony, for example. We occasionally get accidental harmonies as the melody/lead sound may have a delay effect and we hear the leftover results of one note trailing over the next note(s). We occasionally get *real* harmony, with a background pad sound playing gated chords, for example, but I miss richer chord options than the simple major/minor diatonic triads, like 7ths, 9ths, 11ths, suspended 2nds/4ths, secondary dominants, tritone substitution, etc. Getting beyond the basics to the deeper more complex emotions, etc. I'm missing richer harmony. That would take trance beyond Goa trance, in my book, which is where it needs to eventually go, in my opinion.

Still, how the mainstream audience discovered them?