Second Album

Performer: Suicide
Producer: Ric Ocasek
Distributor: Caroline Distribution

Notes: Includes a bonus disc of previously unreleased rehearsal tapes. Suicide: Alan Vega (vocals); Martin Rev (keyboards). Recorded at Power Station, Museum For Living Artists, and Right Track Studios, New York, New York between 1975 & 1979. Includes liner notes by Bob Bert. SUICIDE was inspiration enough for a generation of electro kids to go out (stay in?) and form their very own synth duos. Three years passed--three years of mutual band and audience abuse--before THE SECOND ALBUM showed again (and on a bigger budget) how to do cold, confrontational minimalism to perfection. How many blueprints could one generation want? Ric Ocasek, leader of the Cars, was drafted to produce. Martin Rev's ticking rhythms grew less psychotic, and the sounds emanating from his keyboard on "Sweetheart" and "Dream Baby Dream" toyed with noises lush and corny, pulled back from the precipice of pop. Contextually, with Rev and Alan Vega's croon-you-can't-trust in tandem, Suicide now anticipated a surreal David Lynch-esque world where nothing was quite as it appeared. Before Suicide there were only Silver Apples and Kraftwerk. From an outset of determinedly narrow perspectives, the duo's effect was scattershot and more far-reaching than has ever been fully comprehended. Faded glitz--a scarred downtown glamor--hangs over THE SECOND ALBUM, and nobody does that like Suicide. Electricity is dangerous.

As Suicide, New York City's Alan Vega and Martin Rev created a type of music unlike anything else going on around them in the punk era. Combining Vega's punk/futurist Presleyisms with the electronic squeaks and squawks of Rev's keyboards and rhythm machines, Suicide created a sinister yet strangely joyous noise that inspired everyone from the Cars to the 21st century Electroclash movement. Though they'll forever be identified as part of the downtown NY no wave scene of the 1970s and early 1980s, they've periodically reunited in the decades since.

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