The Irony and the Ecstasy

The Queer Ageing of Pet Shop Boys and LCD Soundsystem in Electronic Dance Music

Bibliographic Data

ID4749596
AuthorsLarissa Wodtke (0000-0002-8641-7709, University of Winnipeg, corresponding author)
Year2019
Volume11
Issue1
Pages30-52
Publication date2019-11-11
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueDancecult (JOURNAL)
Journal identifiersISSN: 1947-5403 • E-ISSN: 1947-5403
PublisherMaynooth University (PUBLISHER)
DOI10.12801/1947-5403.2019.11.01.03
OpenAlexW2986463245
LanguageEN
Citations received2
References cited20

The English duo Pet Shop Boys and American group LCD Soundsystem are notable for their representation as artists who entered and succeeded in the predominately youthful market of popular music and the hedonistic aesthetic of electronic dance music (EDM) at ages considered old for the industry: 32 for vocalists/lyricists Neil Tennant (Pet Shop Boys) and James Murphy (LCD Soundsystem). Neither of these bands makes straightforward EDM-Pet Shop Boys fall under pop and LCD Soundsystem can be considered post-punk-but both are influenced by the New York City dance scene of the late 70s and early 80s, and are characterized as ironic. I argue that Pet Shop Boys and LCD Soundsystem are ironic because of their belated, knowing position in a genre that privileges the infinite present and unproductive reproduction through repetition. In light of Lee Edelman's claim that irony is the queerest of rhetorical devices, the ambivalence of Pet Shop Boys' and LCD Soundsystem's ostensible lack of youth and the youthful temporality of their EDM aesthetic place them in a queer tension between notions of immediate authenticity and the distance of age

Art · Dance · Ecstasy · Electronic dance music · Irony · Literature · Psychiatry · Psychoanalysis · Queer · Sociology · Visual arts · Asian Culture and Media Studies · Gender Studies · Media, Gender, and Advertising · Music History and Culture · Psychology

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