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Although they hardly received credit, Suicide (singer Alan Vega and keyboardist Martin Rev) were the foundation point for just about any synth pop duo that glutted the pop market place (specifically in Britain) in the first ’80s. Minus the trailblazing Rev and Vega, there could have been no Soft Cell, Erasure, Bronski Defeat, Yaz, you name ’em, even though many would let you know that that’s nothing at all to crow about, these synth poppers simply appropriated Suicide’s keyboards/vocalist look and non-e of Rev and Vega’s incredibly confrontational performance design and like of dissonance. The few who do (Throbbing Gristle, Cabaret Voltaire) had been considered too intense for most likes. Suicide have been an integral part of the carrying out arts picture in NY City’s Decrease East Side within the early/middle-’70s NY Dolls period. Their method of music was basic: Rev would produce minimalistic, spooky, hypnotic washes of dissonant keyboards and synthesizers, while Vega sang, ranted, and spat neo-Beat lyrics inside a jumpy, disjointed style. On-stage, Vega became confrontational, frequently baiting the masses right into a riotous frenzy that sometimes resulted in full-blown violence, generally with the masses attacking Vega. Making use of their status as questionable performers solidified, that which was dropped was that Suicide documented some incredibly seductive and terrifying music. A romantic relationship with Vehicles mastermind Ric Ocasek demonstrated successful, getting their music to some wider target audience and developing improbable followers (Bruce Springsteen continued record as caring Suicide’s Vietnam-vet saga “Frankie Teardrop”), but after several breakups and reconciliations, Rev and Vega resolved for being even more important than commercially effective. Ironically, the ’90s became ten years of vindication for Suicide using the rise of commercial dance music, Chicago’s Polish Trax! label, as well as the bands connected with it (Revolting Cocks, Ministry, 1000 Homo DJs, etc.). But not a huge area of the picture after the past due ’90s, the deep impact of Suicide on the generation of youthful bands was easily obvious. When Suicide came back in 2002 with American Supreme, their 1st studio launch in a decade, very much fanfare resulted, without doubt substantially furthered by Vega’s existence around this period as a greatly profiled exhibitor of artwork in NY, where he previously presented a display in the Jeffrey Dietch Gallery in NY earlier in the entire year. Vega also continuing to seem on collaborative and single recordings, including his recording Station, which found its way to 2007, five years after Suicide’s American Supreme. Vega passed away in 2016 in NEW YORK at age 78.

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