Cyberpunk

But by 1987, cyberpunk had become a cliche. Other writers had turned the form into formula: implant wetware (biological computer chips), government by multinational corporations, street-wise, leather-jacketed, amphetamine-loving protagonists and decayed orbital colonies.

Cyberpunk stories are set in a futuristic, dystopic environment—the opposite of utopian—in which computer technology plays an important role. […] The protagonists of cyberpunk stories are technologically proficient, lonely adventurers struggling with issues of identity and forced to use computer skills to fight menacing forces of domination.

The film The Matrix redefined what a cyberpunk looked like.

[…] cyberpunks like William Gibson, Lucious Sheperd^([sic]), Bruce Sterling […]

A more technologically elaborate current of microtonal music can be found at M.I.T and Berklee College of Music, where R. Boulanger works in exotic equal temperaments and non-octave scales (E₆₀ and the 13th root of 3, i.e. the Bohlen-Pierce scale) using the CSOUND acoustic compiler, the Mathews radio drum and various MIDI synthesizers; nearby, E. Mullen performs cyberpunk music in E₁₉ and the 13th root of 3.

At Meredith we stayed up all night listening to doof doof cyberpunk music and I saw you cry for the first time, at four in the morning bottle of ice tea and vodka in hand I saw your real face and something changed.

Indeed, 'Mindphaser' (and Tactical Neural Implant more generally) represents a high point of cyberpunk in the industrial music scene.