Jul 1, 2015

RhoDeo 1526 Aetix

Hello, semi final time for the women's world cup, first half USA on top second half Germany on top but then Germany miss a penalty to make matters worse 10 min later a US player sprints towards the penalty area and lunges into the defender standing there, believe it or not she got a penalty instead of a free kick against her (a yellow card possibly) yes the referee is either corrupt or gotten too she must have startled herself giving the Germans a penalty even though it clearly was one, but there too she should have red carded the player-she didn't, I'm sure FIFA is mighty satisfied with that bitch. yes i'm angry and not even German, beyond belief the biased commentary from the beeb, should such penalty been awarded against England for years you would hear no end of it. But these sad little englanders are still fighting Hitler... A late break, USA scores again and its goodbye Germany, go figure you're on top miss a penalty and its bye bye, and it really is a feature of women sports, fragile mentality you can convince yourself of that watching the ladies at Wimbledon, rarely a real battle..

Today an American electronic/electropunk musical duo, intermittently active since 1970 and composed of vocalist Alan Vega and Martin Rev on synthesizers and drum machines. Never widely popular among the general public, the band are highly influential.....  N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Although they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop marketplace (especially in England) in the early '80s. Without the trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz, you name 'em, and while many would tell you that that's nothing to crow about, the aforementioned synth-poppers merely appropriated Suicide's keyboards/singer look and none of Rev and Vega's extremely confrontational performance style and love of dissonance. The few who did (Throbbing Gristle, Cabaret Voltaire) were considered too extreme for most tastes. In a November 1970 flyer the band was the first ever to use the phrase "punk music" to advertise a concert.

Suicide took their name from the title of a Ghost Rider comic book titled Satan Suicide, a favorite of Alan Vega.[6] Rev's simple keyboard riffs, (initially played on a battered Farfisa organ combined with effects units, before changing to a synthesizer), were accompanied by primitive drum machines, providing a pulsing, minimalistic, electronic backdrop for Vega's murmuring and nervy vocals. They were the first band to use the term punk to describe themselves, which they had adopted from an article by Lester Bangs. Some of their earliest posters use the terms "punk music" and "punk music mass".

Suicide emerged alongside the early glam punk scene in New York, with a reputation for their confrontational live shows. Many of their early shows were at the Mercer Arts Center, alongside bands like the New York Dolls and Eric Emerson and the Magic Tramps. David Johansen once played harmonica with Suicide in an early show there. Vega and Rev both dressed like arty street thugs, and Vega was notorious for brandishing a length of motorcycle drive chain onstage. Vega once stated "We started getting booed as soon as we came onstage. Just from the way we looked they started giving us hell already." [7] This sort of audience confrontation was inspired by Vega's witnessing of an Iggy and the Stooges concert at the New York State Pavilion in August 1969, which he later described as "great art". After the collapse of the Mercer Arts Center in 1973, Suicide played at Max's Kansas City and CBGB, often sharing the bill with emerging punk bands. On stage, Vega became confrontational, often baiting the crowd into a riotous frenzy that occasionally led to full-blown violence, usually with the crowd attacking Vega. With their reputation as controversial performers solidified, what was lost was that Suicide recorded some amazingly seductive and terrifying music.

Their first album, Suicide (1977), is regarded a classic. One critic writes: "'Che", "Ghost Rider"—these eerie, sturdy, proto-punk anthems rank among the most visionary, melodic experiments the rock realm has yet produced." Of note is the ten-minute "Frankie Teardrop", which tells the story of a poverty-stricken young factory worker, pushed to the edge. Critic Emerson Dameron writes that the song is "one of the most terrifying, riveting, absurd things I’ve ever heard." Nick Hornby in his book 31 Songs described "Frankie Teardrop" as something you would listen to "Only once". Their first album was reissued with bonus material, including "23 Minutes Over Brussels", a recording of a Suicide concert that deteriorated into a riot.

A relationship with Cars mastermind Ric Ocasek proved successful, bringing their music to a wider audience and developing unlikely fans, but after numerous breakups and reconciliations, Rev and Vega settled for being more influential than commercially successful.

Suicide's albums of the late 1970s and early 1980s are regarded as some of the most influential recordings of their time and helped shape the direction of indie rock, industrial music and dance music. Among others, Steve Albini, The Jesus and Mary Chain, The Sisters of Mercy, Henry Rollins, Joy Division/New Order, Soft Cell, Nick Cave, D.A.F., The KLF, Ministry, Nine Inch Nails

Autechre, The Chemical Brothers, Daft Punk, Aphex Twin and The Kills, Bono Vox and Bruce Springsteen have all listed Suicide as an influence. Bruce Springsteen was also influenced by the band, as evident by the song "State Trooper" from his album Nebraska. Furthermore, Springsteen also used a solo keyboard version of "Dream Baby Dream" to close the concerts on his 2005 Devils & Dust Tour, and released a studio version of his cover on his 2014 album High Hopes.

In 1986, Alan Vega collaborated with Andrew Eldritch of The Sisters of Mercy on the 'Gift' album, released under the name of 'The Sisterhood'.  In 1988 A Way Of life saw the light of day again produced by meanwhile buddy Ric Ocasek. The album didn't stir the musicworld but that was hardly surprising. In 92 they wondered "Why Be Blue' surely their most 'positive' album, it would take a decade to get over that..

Vega and Rev have both released solo albums, Vega solo albums,  New Raceion (1993) With Ric Ocasek & Liz Lamere, Dujang Prang (1995) With Liz Lamere, Getchertikitz (1996) With Ric Ocasek and Gillian McCain, Cubist Blues (1996) With Alex Chilton and Ben Vaughn, Endless (1998) With Pan Sonic as Vainio Väisänen Vega, Righteous Lite™ (1998) With Stephen Lironi as Revolutionary Corps of Teenage Jesus, Re-Up (1999) With Étant Donnés, Lydia Lunch and Genesis P-Orridge, Sombre (1999) Original score to the film by Philippe Grandrieux rather in contrast Martin Rev just released 2 albums See Me Ridin' (1996) and Strangeworld (2000).

Suicide released their first album in over a decade with 2002's American Supreme. Sales, however, were slow and critical reception was mixed.When the duo returned in 2002 with American Supreme, its first studio release in ten years, much fanfare resulted, no doubt considerably furthered by Vega's presence around this time as a heavily profiled exhibitionist of art in New York, where he had presented a show at the Jeffrey Dietch Gallery in New York earlier in the year.

In 2005, SAF Publishing put out Suicide No Compromise, a "docu-biography" by David Nobahkt, which featured extensive interviews with Vega and Rev as well as many of their contemporaries and famous fans. In 2008, Blast First Petite released a monthly, limited edition series of 10" Vinyl EP's and downloads by major artists, honoring Alan Vega's 70th birthday. Among those paying tribute were Bruce Springsteen, Primal Scream, Peaches, Grinderman, Spiritualized, The Horrors, +Pansonic, Julian Cope, Lydia Lunch, Vincent Gallo, LIARS, & The Klaxons. The label also released "Suicide: 1977–1978", a 6 CD box-set, the same year.

In September 2009, the group performed their debut LP live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series. "Ghost Rider" was recently featured in a sixth season episode of HBO's Entourage. The music is also featured in the films Finisterrae, Attenberg and Praia do Futuro. The riff from "Ghost Rider" was sampled extensively in M.I.A.'s single, "Born Free", released in April 2010. In May 2010 the band performed the entire first album live at two London concerts, double billed with Iggy & The Stooges performing Raw Power.


xxxxx xxxxx xxxxx xxxxx xxxxx

Proof that punk was more about attitude than a raw, guitar-driven sound, Suicide's self-titled debut set the duo apart from the rest of the style's self-proclaimed outsiders. Over the course of seven songs, Martin Rev's dense, unnerving electronics -- including a menacing synth bass, a drum machine that sounds like an idling motorcycle, and harshly hypnotic organs -- and Alan Vega's ghostly, Gene Vincent-esque vocals defined the group's sound and provided the blueprints for post-punk, synth pop, and industrial rock in the process. Though those seven songs shared the same stripped-down sonic template, they also show Suicide's surprisingly wide range. The exhilarated, rebellious "Ghost Rider" and "Rocket U.S.A." capture the punk era's thrilling nihilism -- albeit in an icier way than most groups expressed it -- while "Cheree" and "Girl" counter the rest of the album's hard edges with a sensuality that's at once eerie and alluring. And with its retro bassline and simplistic, stylized lyrics, "Johnny" explores Suicide's affinity for '50s melodies and images, as well as their pop leanings. But none of this is adequate preparation for "Frankie Teardrop," one of the duo's definitive moments, and one of the most harrowing songs ever recorded. A ten-minute descent into the soul-crushing existence of a young factory worker, Rev's tense, repetitive rhythms and Vega's deadpan delivery and horrifying, almost inhuman screams make the song more literally and poetically political than the work of bands who wore their radical philosophies on their sleeves. [The Mute reissue includes "Keep Your Dreams" and the "Cheree" remix that appeared on previous versions of the album, along with live versions of "Las Vegas Man," "Mr. Ray," and "23 Minutes Over Brussels"; though the extra tracks dilute the original album's impact somewhat, they're worthwhile supplements to one of the punk era's most startlingly unique works.]



Suicide - Suicide  (flac 277mb)

01 Ghost Rider 2:34
02 Rocket USA 4:16
03 Cheree 3:42
04 Johnny 2:10
05 Girl 4:05
06 Frankie Teardrop 10:26
07 Che 4:52
bonus
08 Cheree (Remix) 3:47
09 I Remember 3:11
10 Keep Your Dreams 4:48

Suicide - Suicide   (ogg 95mb)

xxxxx Bonus CD

Suicide - Live At CBGB'S 1978  (flac 317mb)

01 Mr Ray 6:29
02 Las Vegas Man 4:23
03 96 Tears 3:48
04 Keep Your Dreams 3:19
05 I Remember 5:11
06 Harlem 4:05
07 23 Minutes Over Brussels 22:56
7a Ghost Rider
7b Rocket USA
7c Cheree
7d Dance
7e Frankie Teardrop

xxxxx xxxxx xxxxx xxxxx xxxxx

There was an aesthetic revolution implied in the coupling of Alan Vega's reckless rockabilly howling and the hypnotic buzz and drone of Martin Rev's keys, and that revolution in sound birthed (perhaps unwittingly) two primary schools of synthesized rock: wimpy, gutless new wave duos and the painful dissonance of bands like Skinny Puppy, Foetus, and the later Chicago Wax-Trax scene. For better and for worse, Suicide enabled the industrial revolution. Half Alive is an essential reissue of the original ROIR cassette from 1981, compiling extremely rare early demo material and live tracks from 1974-1979. It's a mesmerizing, confrontational listen, and even more importantly – when contextualized in that time period, that harsh and beautiful juxtaposition of futuristic minimalism and anachronistic crooning (imagine Gene Vincent cornered on a mixture of quaaludes and speed), is confounding. Vega's scream is as damn reckless, damn frightening, and as full of abandon as a Stooges live show from the early '70s. Suicide went on to record a handful of indispensable albums before splitting up and reuniting innumerable times. If nothing else, this collection documents the peculiar fury of proto-industrial music prior to its eventual emasculation and/or reconfiguration as the millieu of studio hounds and gothic make-up artists.



Suicide -1/2 Alive  (flac 298mb)

01 Harlem II 3:55
02 Goin' To Las Vegas 4:15
03 Love You 2:45
04 Cool As Me 3:19
05 All Night Long 4:04
06 Sister Ray Says 4:25
07 Johnny Dance 2:59
08  Space Blue 1:46
09 Long Talk 1:27
10 Speed Queen 2:27
11 Chezazze 3:23
12 Dreams 2:09
Bonus Tracks
13 All Night Long 4:31
14 Sweetheart 4:43
15 Scream And Shout 4:16

xxxxx xxxxx xxxxx xxxxx xxxxx

The unwitting godfathers of industrial noise-squall return after a long absence to reclaim their throne on A Way of Life. Produced by Ric Ocasek, Suicide's Alan Vega and Martin Rev pick up exactly where they left off, crafting beautifully ominous drone-rock founded on pulsing sequences, dramatic vocals, and dense atmospherics.



Suicide - A Way Of life (flac 228mb)

01 Wild In Blue 4:34
02 Surrender 3:47
03 Jukebox Baby 96 3:21
04 Rain Of Ruin 4:01
05 Sufferin' In Vain 4:41
06 Dominic Christ 6:46
07 Love So Lovely 4:04
08 Devastation 4:01
09 Heat Beat 4:14

xxxxx xxxxx xxxxx xxxxx xxxxx

1 comment:

Geoff said...

Hi can you re-up the suicide albums please. Thanks.