Kraftwerk are a good case study
Their imagery, reference points, record artwork, stage appearance, etc is "futuristic" in the corny sense (robots). It is also retro-futurist, often harking back to the early 20th Century - autobahns, the trans-europe express, Fritz Lan, the red-and-black colour scheme of The Man-Machine echoing the Soviet modernists (so you could also call it retro-modernist)
The music, though, is the future-now in the terms that Barty is celebrating - using the latest technology, doing new things with it, and things that are in advance (not vastly in advance, but significantly ahead) of the pop mainstream, and that will in fact become the sound of the pop mainstream in the Eighties and have all kinds of influences and echoes in things to come. Machine-rhythm, sequencer pulses, etc etc
And then on a third level, you might say Kraftwerk are ideologically and consciously futurist, in their public statements and idea of what they are trying to do. (And the harking back to Suprematism etc is more or less literally harking back to the era of Futurism - the Russians had their own branch of F-ism i believe)
I would distinguish (to recycle an old blog post) between
Futuristic (absolutely exhausted, corny as fuck)
Futurist (an overt ideology of ultramodernism)
Futuroid (in homage to Noise Factory) which is that in the current music landscape that has not been done before, and that most likely will be widely adopted going forward
the futuroid can exist in absence of both the futuristic cliches and the futurist ideology
one example would be Edge from U2's guitar playing, which was new, fresh, inventive, using the latest possibilities of gear etc - but U2 neither trafficed in the futuristic cliche set like Numan et al, nor did they have an overt futurist stance like Cybotron or the Young Gods or....
but there are many other examples of the futuroid - and they can involve technology, but they can also involve playing technique
it's the emergent, breaking through the residual - and sometimes (most often in popular music) it breaks through within residual forms and over-writes them. that's how you can actually FEEL the newness, through the cancelling / mutilating / stretching of the old (i'm just recycling Fredric Jameson here)