Genre: Rock Year: 1980 Country: USA Details: Tracks & Audio Label: Mango
Suicide took elements of artists like Kraftwerk, Can or The Velvet Underground, combined it with the energy of New York Dolls and Ramones and surfaced as one of the most innovative bands of their times. They made a groundbreaking debut that has been influential for people so different as Pan Sonic, The Clash or Bruce Springsteen yet they were almost completely ignored by the media. Their shows were so wild that even punks found them hard to digest (yeah, even the nasty Sex Pistols' fans hated these guys).
Produced by Rick Ocaseck, the Cars' front man, their second album though introducing a cleaner, more polished sound, does not mean a resignation at all. The wild and horror of the concrete jungle fill this album, as well as its beauty and elegance. When Alan Vega mutters cynically, like in "Diamonds, for Coat, Champagne", you can get to a real state, the music is, however, fresh, stimulating. Suicide made psychedelic music, but an urban psychedelic; they were not thinking about constellations and far away stars, they did "New York Blues" as Alan Vega said. In "Mr. Ray" Vega sounds anxious and exciting, like if he wanted to sing the lyrics before something terrible would happen (maybe before he punches you on the face). "Sweetheart" is a very quiet moment: Martin Rev performs a dreamy melody and Vega sings so affectionately that you can't help but being a little scared by this unexpected display of sweetness; as the song goes on you can tell the cynicism in Vega's voice.
The album continues with a tense, paranoid moment "Fast Money Music" and a dark erotic tale "Touch Me". Harlem is somber and mesmerizing while Be Bop Kid is playful, almost danceable, with a funky bass arrangement. "Las Vegas Man" is nocturnal, drowsy. "Shadazz" is one of the most versatile moments of the album, a very fancy song that makes you want to dance all over an imaginary discotheque. "Dance" creates a very menacing atmosphere with Vega's voice distorted and superimposed over and over. "Super Subway Comedian" is dynamic, funny, with Vega's half spoken vocals. A tic-tac introduces "Dream Baby Dream", one of the highest points of the album, a tender lullaby with a very sinister and surprising turn: "dream baby Dream…Forever…" The album closes with "Radiation" a piece with some thick layers of keyboards and a minimalist drum machine.
The Second Album by Suicide is as essential as its predecessor if want to get to know one of the most daring acts of modern rock history, or simply if you are open to enjoy a not so usual attitude towards music, NSYNC fans, please stay away.
Suicide The Second Album
