Cyberpunk is a concept album by English rock musician Billy Idol, released in 1993 by Chrysalis Records. Inspired by his personal interest in technology and his first attempts to use computers in the creation of his music, Idol based the album on the Cyberdelic subculture of the late 80s and early 90s. Heavily experimental in its style, the album was an attempt by Idol to take control of the creative process in the production of his albums, while simultaneously introducing Idol's fans and other musicians to the opportunities presented by digital media.
Released to overwhelmingly negative reviews, Cyberpunk polarized the internet communities of the period. Detractors viewed it as an act of cooptation and opportunistic commercialization. It was also seen as part of a process that saw the overuse of the term "cyberpunk" until the word lost meaning. Alternatively, supporters saw Idol's efforts as harmless and well-intentioned, and were encouraged by his new interest in cyberculture.
The album featured a cyberpunk-styled narrative as well as synthesized vocals and techno influences. Despite the critical and financial failure of the album, Billy Idol set several precedents in the process of promoting the album. These included his use of the internet, e-mail, virtual communities, and multimedia software – each a first for a mainstream celebrity. Idol also based his fashion style, music videos, and stage shows on cyberpunk themes and aesthetics.
Conception
During the release of 1990's Charmed Life , Idol suffered a broken leg in a motorcycle accident. While in recovery, he was interviewed by Legs McNeil. McNeil noticed the electronic muscle stimulator on Idol's leg and referred to him as a "cyberpunk", citing the cyborg qualities of his appearance. This led to Idol taking a serious interest in the works of William Gibson for the first time, although he had read Neuromancer in the mid-80s. In the following months, Idol continued to investigate cyberpunk fiction and technology. He also read Neil Stephenson’s Snow Crash , works by Robert Anton Wilson, and others.
At approximately the same time, he began to work with Trevor Rabin to create his music, having parted ways with his former producer, Keith Forsey. Rabin introduced Idol to his home studio, which was centralized around Rabin's Macintosh computer and music software. The ability to personally produce music from his home, rather than at a professional studio, appealed to Idol's "do it yourself" ethic. He felt that working through a team of producers and sound engineers cut into his personal vision for previous albums, and was interested in being more directly in control of his future work. Idol asked his producer, Robin Hancock, to educate himself and his guitarist, Mark Younger-Smith, on the use of software for musical production.
With his increasing exposure to technology and science fiction, Idol decided to base his upcoming album on the cyberpunk genre, and quickly set about educating himself in Cyberdelic counter culture. Idol saw the convergence of affordable technology with the music industry and anticipated its impact on a new era for DIY punk music. "It's 1993," Idol said during a New York Times interview. "I better wake up and be part of it. I'm sitting there, a 1977 punk watching Courtney Love talk about punk, watching Nirvana talk about punk, and this is my reply."
Reading Mondo 2000 and Gareth Branwyn's 1992 manifesto, "Is There A Cyberpunk Movement?", Idol resolved to base an opening sequence on Branwyn's essay, contacting the writer for permission. He also read Branywn's Beyond Cyberpunk! HyperCard stack, a collection of essays based on fanzines, political tracts, conspiracy theories, and which referred to itself as "a do-it-yourself guide to the future." Idol proceeded to consult with various writers familiar with the computer related magazines, such as Mondo 2000 , and bOING bOING . Idol also hosted a "cyber-meeting" attended by the likes of Timothy Leary; Jamie Levy, author of books published on disks under the "Electronic Hollywood" imprint; R. U. Sirius, co-founder of Mondo 2000 ; and Brett Leonard, director of The Lawnmower Man .
Asked by Idol about how he could become further involved in cyberculture, Branwyn and Mark Frauenfelder advised him to investigate The WELL, one of the oldest online communities. Idol did so, discussing the album project online with WELL users, and creating a personal e-mail account which he released on printed advertisements for the upcoming album, so that fans could communicate with him. Idol also made occasional postings to alt.cyberpunk, a Usenet newsgroup. Later in an interview for MTV News promoting the album, Idol expressed excitement over the medium. "This means I can be in touch with millions of people, but on my own terms."
Recording
Cyberpunk was created in Idol's home studio in Los Angeles, centered around his Macintosh computer and accompanying software. Programs used in the production included Studio Vision, by Opcode Systems, and Pro Tools, by Digidesign. Excited by the DIY aspects of the production process, Idol took only ten months to record the album, which he often contrasted with the combined period of eight years it took to create his two previous albums. Working with his computer over time also gave him the sense that the computer was itself an instrument, and that the performer's style was also presented by the technology. Its versatility also allowed him to switch roles with Mark Younger-Smith and Robin Hancock, allowing each to experiment with their different talents and blurring the lines of their specialized roles, leading Idol to repeatedly compare the production process to that of being in a garage band. Together, the trio comprised what Idol considered to be the "core" production group, although a number of artists contributed to a various tracks. In particular, he credited his drummer Tal Bergman and bassist Doug Wimbish for their contributions to numerous tracks. Wimbish had recorded his work from a studio in New York City, and sent it to Los Angeles for use in the production.
Cyberpunk themes
Cyberpunk was a departure from Idol's previous style of pop-rock music. Several spoken or sound-effect segues were placed between the album tracks to create a linear narrative. The effect of these segues caused the album to become a concept album. Karen Schoemer, of the New York Times, commented that "ith its booming techno beats, screeching guitar riffs, sampled computer voices and songs like 'Power Junkie' ('I feel tonight we're bought and sold/Ah yeah, I think I'll overload'), the album functions as Mr. Idol's interpretation of cyber culture."
When asked why he was pursuing such a shift in his musical style by adopting electronic music, Idol responded that he had attempted to incorporate technology in his older work, but found the equipment of the late 70s and early 80s too limiting and gave up. With the computers of the 90s, Idol finally felt that the technology was able to quickly and easily make changes as he saw fit. Idol came to expound on his belief in their future importance for the music industry, and quoting Gareth Branwyn, referred to the computer as "the new cool tool."
Idol was also keen to share his ideas regarding the future of Cyberculture and its impact on the music industry, and was noted for his enthusiastic speculation in the future of computers. Some of the predictions Idol made for the future of the internet, computers, and musicians, was that it would allow for cheap and efficient recording from home; that musicians could record their music and send it to producers and fellow band members from great distances, perhaps while on tour; and that musicians would be able to directly communicate with their fans and critics. Idol also hoped that the rapid ability to do whatever he desired with the production would allow raw forms of rock music to remain relevant after the Grunge movement swept America in the early 90s. " can do anything... If you want the music backwards, it can be backwards in a snap. This is in a way my sort of answer to grunge. I know there's a way of using this modern technology to bring a lot of rawness back."
However, he rejected the idea of referring to the music as "computerized", on the grounds that nothing was done for the album that couldn't have been done with standard recording equipment, and that the computer had simply sped up and simplified the creative process. Placing emphasis on the contribution of the performers over the computer tools they used, Idol felt the album achieved a "garage band" spirit, that had captured the "Sturm und Drang" he found in rock and roll, and had simply modified it digitally. Idol thus felt that the album could be best identified as a rock album, rather than a techno album.
Fashion
On September 24, 1992, Billy Idol took part in a benefit fashion show by Jean-Paul Gaultier. The event, entitled the "Jean Paul Gaultier In L.A.", was a fashion benefit for amfAR AIDS research, at the Shrine Auditorium. Idol modeled a leather jacket and pants, covered in black sunglasses, to the yet-unreleased song "Neuromancer". This coincided with Idol's decision to change his fashion style to match the cyberpunk aesthetic of the album. Idol changed his hair to dreadlocks, and wore sleek, futuristic clothing by New York fashion designer Steven Strauss. In a photo shoot published in Details July 1993 issue, highlighting Billy Idol's new "cyberpunk" aesthetic, Idol modeled in a distressed-velvet jacket and matching trousers de
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