Suicide profile picture

Suicide

Dream Baby Dream

About Me

By the summer of 1978 punk rock had lost the power to shock. The revolution that had shot an amphetamine rush into a moribund music scene had been subsumed into the mainstream. Or so it seemed until The Clash invited one of the lesser-known names from the New York punk scene to support them.
Part electronic rock band, part performance art project, Suicide comprised visual artist Alan Vega on vocals and musician Martin Rev on electronic keyboards and drum machine. Formed eight years earlier amid Manhattan's downtown art scene, alongside the New York Dolls, they were inspired equally by Iggy Pop and Elvis Presley, Andy Warhol and The Velvet Underground, Kraftwerk and Stockhausen - and sounded like none of them. With their grimy black leather street clothes, wraparound shades and a confrontational attitude to performing, they found a natural home in the Manhattan clubs, where punk was kicked into life by The Ramones, Patti Smith, Richard Hell, Television and Blondie.
Not many people enjoyed the experience of watching Suicide's ground-breaking experiments in tech-noir. In an era of rock-n-roll hedonism they made an intense electronic noise in which primitive rockabilly rhythms and fragments of melody fought to escape from a maelstrom of feedback and distortion played at maximum volume. Vega's aggressive stage persona blurred the boundary between performer and audience in the manner prescribed by the Surrealist visionary Antonin Artaud in his manifesto Theatre of Cruelty (1935), using confrontation to break down barriers. He swung a huge motorcycle chain menacingly around onstage. Sometimes he would cut his own face with a switchblade, "just to freak people out". Once he leapt offstage and blocked the door, bike chain in hand, to stop dissatisfied audience members from leaving.
When Suicide came to Europe they proved too extreme even for audiences accustomed to the de rigueur anti-social behaviour of punk. The booing began moments after they took the stage in front of an audience impatient for the hyped-up garage rock of The Clash. Beer bottles began to be thrown - full beer bottles. Rev, impassive behind his bug shades, responded by cranking up the volume and attacking his keyboard with renewed aggression, stabbing jagged shards of discordant noise into the pulsing rhythms that rumbled through your gut. Beside him Vega, blood seeping from a head wound, openly baited the angry crowd and carried on singing - if singing was the word for a voice that ranged from psychotic crooning to a satanic Elvis impression, punctuated by strangulated yelps and howls. And that was not just one isolated show; it happened every night. In England an enormous skinhead clambered on to the stage and thumped Vega in the face, breaking his nose. In Scotland the many missiles hurled at the singer included an axe. In France there was a full-scale riot. Suicide's crime? To have no guitars or bass or drums.
"It was like being in Hell," recalls Vega in David Nobakht's newly published biography, Suicide: No Compromise (2005). Reminiscing further before a London concert this January, Vega adds: "In the Seventies I was afraid for my life every night but that didn't matter, it energised me. Growing up in Brooklyn you learned never to give up. You could get your ass kicked but you fought to the death. Stupid macho crap. But that's why we were never forced offstage." Suicide, as their name suggested, were not for the meek or faint-hearted. They might not have had guitars but they had more punk attitude than the countless copycats who followed in the footsteps of The Sex Pistols and The Clash. In fact Suicide had coined the term "punk" for their music as far back as 1971, advertising their shows as "a punk music mass." Their signature tune was Frankie Teardrop, a terrifying twelve-minute psychodrama about a factory worker who loses his job and murders his wife and kid before committing suicide. By the end of it (if you got that far) you knew just how he felt.
"We were waiting on line when punk arrived," says Vega, who has the stocky build and strangled vowels of an ageing Brooklyn streetfighter. "Here was finally a movement that took us with it. Before that there was not anything that could place us. We thought of our music as being religious and it probably is in a way. Whoever woulda thunk it that the word Punk would become a movement that we inadvertently probably started? I dunno, I'm not into taking credit as the first one to do it and shit like that, but it was the first time anyone used the word punk since Lester Bangs used it in a Creem magazine article on The Stooges in 1969."
Thirty-five years later, Suicide have yet to achieve a hit record, although Vega enjoyed a 1981 solo hit in France with Juke Box Babe. But they are still recording and performing together, have just had all their five albums re-released - each with extra CDs of live performances, from their 1975 demos to a Paris concert in 1989. And they are finally being recognised as one of the most important influences on twenty first-century music.
Before Suicide there were no electronic duos on a gig circuit dominated by progressive rock dinosaurs. The release of their debut album in 1977, with its arresting melange of industrial noise and heart-melting melody, and its 1980 successor (adding the pop sheen of producer Ric Ocasek of The Cars), directly inspired many of the first wave of synth-pop bands. Without Suicide there would have been no Soft Cell or Human League, Depeche Mode or Pet Shop Boys. They inspired Joy Division, Primal Scream and the Jesus and Mary Chain, REM, Nick Cave and even Bruce Springsteen, who befriended them and acknowledged their influence on his stark Nebraska album. They can be heard more clearly in the post-rave generation of dance musicians like Underworld and the Chemical Brothers, Aphex Twin and The Prodigy.
Yet for many years Suicide received little credit for their work, languishing in the ghetto of artists whose critical acclaim fails to translate into record sales. "We only made enough money to live but if you gave me a choice to make all the money some of those people made and sound like Soft Cell, I still wouldn't do it," insists Rev. "I wouldn't want to be part of it. It's a betrayal. I'd rather make no money and do what I do. We have a different path and a different destiny."
Similarly, credit has eluded Vega, originally a painter who found a niche with sculptures of cruciforms using light bulbs, neon and found objects, which was equally ahead of its time. Jeffrey Deitch, the New York gallery owner who championed Jean-Michel Basquiat and Keith Haring, recalls his 1972 show at the OK Harris gallery as "the toughest and most radical art I had ever seen". He describes Vega's installation made of "lights, TV sets, coils of wire and other discarded electrical equipment dumped in piles on the floor. Some of the power cords were spliced together and plugged in." And this, remember, was nearly 30 years before Tomoko Takahashi's installation of electrical detritus filled the Saatchi Gallery, earning her a Turner Prize nomination. "Apparently my work started a school called Scatter Art, so Jeffrey Deitch told me," says Vega, who was recently given his first show in 20 years at the Deitch Gallery. "So it happened again - a coupla guys got famous for it. I'd done it already, but they sold theirs for megabucks and had it shown in museums and stuff like that. Just like that Soft Cell thing all over again."
For Vega, there was never a distinction between his music and his art. "Art and music - it's all the same thing to me," he insists, "I'm still the same guy doing it". Julian Schnabel, writing in 100,000 Watts of Fat City (1997), a book of photographs of Vega's sculptures, saw parallels in Vega's favoured themes: "Alan Vega has been meditating on the crucifix, death and ecstasy with every sensory pore in his body," he wrote, "whether singing, making music or building crosses, since I can remember and even before that".
Vega's art and music began life at the Project of Living Artists, a publicly-funded art space in New York which he had helped to found in the late 1960s. Open 24 hours a day, it was similar to Warhol's Factory, with artists and musicians, feminists and political agitators sharing space with junkies and alcoholics. It was there, in 1970, that Vega met Rev, who had an avant-garde jazz group called Reverend B, and they discovered a shared interest in radical politics and electronic music as a means of artistic expression.
Still together and still at the cutting edge after all these years, Suicide"s last album, "American Supreme", addressed the state of post-9/11 America and showed them to be moving on, incorporating elements of hip-hop and funk into their stark minimalist palette. Their London show this January found that they have a new audience, many in their teens and early 20s: people who were not even born when Suicide began but have tuned into their sound through the groups they influenced and the acknowledgements paid by people like Bobby Gillespie and REMs Michael Stipe, another fan. "I really like Suicide," says Stipe. "They were so ahead of the curve and therefore really unpopular, as well they should be."
These days the shows usually end without bloodshed but, far from mellowing with age, Suicide remain as experimental as ever and no two performances are ever the same. "In the beginning Suicide stood out because there was nobody like us. There still isn't," says Vega. "I have known bands who try to sound like us and some of them do a fairly decent job but they're not like us. They don't have the intensity. Back in the day people used to say to us: "Oh you guys are ahead of our time" but I don't believe in that stuff. I thought we were right on our time - everyone else was behind the time."
- Tim Cooper, Contemporary-Magazine

My Interests

Music:

Member Since: 11/16/2005
Band Website: limbos.org/suicide
Band Members: Martin Rev: Instrument
Alan Vega: Vocal
Liz Lamere: Machines (Vega solo)

Note: This MySpace page is run by fans and friends of Vega and Rev from the Revega mailing list. We cannot give out personal info about them, nor will we forward them any messages. Don't forget to check out all our music projects in the Top 8!
Influences: Elvis Presley, Fats Domino, ? and the Mysterians, Thelonious Monk, Cecil Taylor, Karlheinz Stockhausen, La Monte Young, Steve Reich, Silver Apples, Iggy Pop & The Stooges, Lou Reed & The Velvet Underground
Sounds Like:
GHOST RIDER
The Cars T.V. Special 1978

DREAM BABY DREAM
The Cars T.V. Special 1978

HARLEM
1980

SATURN DRIVE
Alan Vega 1983

SURRENDER
Lunettes Noires pour Nuit Blanches 1988

MR. RAY
Barbican Arts Centre 1997

MARI
Martin Rev I.D.E.A.L. 2006
Record Label: Mute Records
Type of Label: Major

My Blog

Suicide: "Live 1977-1978" 6CD Box Set

LIVE 1977 - 1978 3000 Limited Edition Six CD Box Set PTYT 011 OCTOBER 2007 AVAILABLE HERE FIRST - EXCLUSIVELY AT BFP ONLINE SHOP - ADVANCE ORDERS TAKEN. £35 ...
Posted by Suicide on Sun, 28 Oct 2007 02:45:00 PST

Martin Rev California Tour: July 24, 25, 26

...
Posted by Suicide on Thu, 24 May 2007 06:42:00 PST

STATION - In Stores Now!

Five years in the making, Vega's tenth solo release, Station, is a blistering statement of intent from a rock'n'roll shaman whose work has always stretched parameters, managing to defy expectations at...
Posted by Suicide on Sun, 06 May 2007 11:18:00 PST

New Vega Website

www.alanvega.comMake sure to check out Vega's new official website. It contains many pictures of his new artwork and information regarding his upcoming solo album "Station" which will be released some...
Posted by Suicide on Mon, 11 Dec 2006 06:09:00 PST

Vega Sculptures @ P.S.1 Contemporary Art Center

MUSIC IS A BETTER NOISE October 29, 2006 - January 8, 2007 P.S.1 Contemporary Art Center 22-25 Jackson Ave at the intersection of 46th AveLong Island City, NY 11101(Long Isl...
Posted by Suicide on Fri, 10 Nov 2006 01:03:00 PST

Alan Vega Collaborates with Mekon

Bobby Gillespie And Alan Vega Collaborate With Mekon The new single from Mekon includes a very special collaboration track. Mekon will be releasing a double A-side single on August 21st, contain...
Posted by Suicide on Sat, 02 Sep 2006 01:33:00 PST

New CD: Cubist Blues Redux

In 1996, the fine Thirsty Ear label -- never motivated by commerce, always driven by the need to issue the what was new, odd, and fresh, even if it is that rare freakish and fractured thing -- release...
Posted by Suicide on Thu, 27 Jul 2006 02:30:00 PST

Alan Vega and Martin Rev news

MARTIN REVDETROIT INDIE SPACE ROCK LABEL MIND EXPANSION (OWNED AND OPERATED BY FUXA FRONTMAN RANDALL NIEMAN) WILL BE RE-ISSUING MARTIN REV'S CLASSIC "CHEYENNE" ALBUM ON CD LATER THIS YEAR. C...
Posted by Suicide on Thu, 29 Jun 2006 12:08:00 PST

Join the Suicide Mailing List

Suicide Fan Mailing List on Yahoo:http://groups.yahoo.com/group/Revega/
Posted by Suicide on Sun, 23 Apr 2006 06:47:00 PST

Suicide Live on DVD

One Day: Live at La Loco, Paris 2005Availible in the US April 25thWhite Man Uptown LineWrong DecisionFirst Come First ServeChereeGhost RiderDeath MachineDream Baby DreamStayin' AliveExtrasAlan Vega In...
Posted by Suicide on Sun, 23 Apr 2006 06:42:00 PST