Yet they also embody a far more romantic modernist fantasy of Europe after the war, of a continent trying to forge itself anew in the white heat of technology. As the tension in their music between melancholy melody and crystalline, computerized texture attests, this fantasy is bittersweet; that of doomed lovers split by the Berlin Wall, nations troubled by the pain of history and the threat of nuclear annihilation, a kind of introverted and scarred new dawn hope which was of a different character to the confident, forward-looking idealism expressed by American modernity in the 1950s and ‘60s.
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