Thirty years before synthwave declared itself a bedfellow of cyberpunk, industrial acts such as Front 242, Front Line Assembly, Skinny Puppy, and others were donning goggles and leather jackets, and sampling cyberpunk films from Videodrome (1983) to Robocop (1987). Concurrently, this period saw the rise of industrial music out of the post-punk era of the late ‘70s. It was an era in which William Gibson and Bruce Sterling novels reigned supreme, Max Headroom was on the air in America, while the Bubble Gum Crisis anime was being produced in Japan. In the almost-two decades between Blade Runner (1982) and The Matrix (1999), a particular form of cyberpunk existed across various medias.
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