Neuromancer’s dominant tone came from British post-punk, not American sources

Evidence

Gibson’s debt to Steely Dan and the Velvet Underground has long been acknowledged, but the dominant tone of Neuromancer was an overhang from post-punk. Gibson named his hightech prostitutes after the Meat Puppets, but Neuromancer’s technihilistic ambience, dub apocalypticism, amphetamine-burned-out Cases and hectic, twitching finger-on-fast-forward and comatone-cut-out narrative, seem to be transposed straight out of the British post-punk scene. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1012

Categorization

• XREF: Genuine cross-domain resonance: a landmark of the reader’s cultural canon (cyberpunk literary salience) being located sonically in British post-punk rather than American tradition.
• QUESTION: Worth chasing: which specific post-punk acts and texts does Fisher trace as the ‘source’ register of Neuromancer beyond the acknowledged Steely Dan debt?