Abstract
This chapter examines synth-pop’s tangled relationship to notions of past, present, and future. It also interrogates how synth-pop alternately embraced utopian and dystopian views toward modernist environments – cultural, civic, and industrial – which much of the music emerged from and responded to. The study predominantly centres on synth-pop created in England between 1977 and 1984.
| Original language | English |
|---|---|
| Title of host publication | Just Can't Get Enough: Synth-Pop and its Legacies |
| Editors | Geoff Stahl, Nabeel Zuberi, Holly Kruse |
| Place of Publication | New York |
| Publisher | Bloomsbury |
| Publication status | Published - 2025 |
Keywords
- synthpop
- music geography
- synthesizer
- new towns
- utopian
- dystopian
- alienation
- futurism
- synth-pop
Data Availability Statement
- No data is associated with this publication.
Rights Retention Statement
- For the purpose of open access, the author has applied a Creative Commons Attribution (CC BY) licence to any Author Accepted Manuscript version arising.