Cupid and Psyche 85 sonically captured Eighties late-capitalist depthlessness.

Evidence

Entryism constitutes a double disavowal of sublime space. First, it is turned away from, then the very possibility of its existence is denied. In retrospect, entryism has to be seen as the production of a particularly virulent capitalist mind plague. … As Simon has shown elsewhere, Green had by this point done more than merely accommodated himself to the market; he was acting as an entrepreneur, since the “‘Fairlight future-funk’ of Cupid and Psyche 85 was so far ahead of the game it actually influenced black pop.” There’s a case for saying that Cupid and Psyche’s “dazzling, depthless surfaces” in which “‘soul’ and interiority are abolished” and “desire traverses a flat plane, the endless chain of signifiers, the lover’s discourse as lexical maze” was THE sound of Eighties capital, the perfect soundtrack to Jameson’s Postmodernism, or the Cultural Logic of Late Capitalism, what it felt like to be lost in the mirrored plateaux of the hypermarket. — Mark Fisher (edited by Darren Ambrose), K-Punk, 995

Categorization

• XREF: Echoes the Fredric Jameson postmodernism framework the reading list centers on surface, depthlessness, late capital. — connects to: People are haunted by futures the Eighties neoliberal turn terminated — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 2290
• QUESTION: Fisher deploys Jameson’s depthlessness concept to praise a pop record that others read as sellout — worth chasing the implication.

Broader Connections

• People are haunted by futures the Eighties neoliberal turn terminated #expands (0.82) — Mark Fisher (edited by Darren Ambrose), K-Punk, 2290