Suicide

The thing is split into two Cd's: the first is the album proper, with the second being (probably) the darkest 3/4hour of your life...underproduced and bleak, man. It is a fascinating out-take from the early days, but the real magic lies on the other, friendlier, disc.

'Dream Baby Dream' is the single most influential electronic song of all time, while 'Harlem' showed the intensity this band could muster. 'Shadazz' showed them just being brilliant. Either way, you gotta get this album, and it's Uncle, the first Suicide album.

Rock 'n Roll without guitars NEVER sounded this good.

The second bonus disc is of interest- recorded in Suicide's formative years at the Musuem for Living Artists in 1975. It's proof that bands aren't always brilliant straight away- but on these First Rehearsal Tapes are found the roots of Suicide. The opening Speedqueen relates as much to the DIY-production common to Lee'Scratch'Perry's work in the 70s (see The Upsetter's Bird in Hand to contrast the percussive sound). Suicide's themes and sound are becoming apparent- a world where Alan Vega croons Sci-Fi inflections like a 21st Century Elvis, while Martin Rev stirs up a minimal maelstrom behind him. Suicide beat The White Stripes on the minimal front- as they used instruments and music to look forward, rather than look back. The First Rehearsal Tapes are intrigueing, well worth a listen- you can hear a world of cities, tough guys, dreams, space, speed & men form- the lyrics in the tradition of William S Burroughs. Almost worth buying for the bonus disc, which is more than a curio, more than a DVD-extra...

The opening disc offers up Suicide's second album, along with the classic Dream Baby Dream/Radiation single; there's even a bonus cut- their so-called Beatles song Super Subway Comedian (see the excellent liner interview between Suicide & ex-Sonic Youth drummer Bob Bert- yes that Bob Bert who played on such joys as Inhuman & Death Valley 69!). I'm not sure Dream Baby Dream is the most influential electronic track of all time- what about Trans Europe Express, I Feel Love, or Virginia Plain (even)? It's a great single, a strange poppy song that advances on the previous world of songs like Cheree. Personally I prefer Radiation, as it's a harder track with a dub feel that makes complete sense next to The Pop Group's She's Beyond Good & Evil or Eno/Byrne's The Jezebel Spirit.

The album (as the single) was produced by The Cars' Ric Ocasek- a true pop subversive who's achieved the same skill not only on Cars records, but on albums by The Wannadies & Weezer. The 10-tracks that originally comprised the 2nd album remain timeless, as great as the debut is- it's this album I prefer. It makes a lot more sense when citing bands like Depeche Mode, New Order & Soft Cell. Diamonds, Furcoat, Champagne is an electronic classic (found on the brilliant Uncut Electronic Compilation a few years ago, as well as wonderfully covered by Fatima Mansions), while the following Mr Ray is a pulsing rhythmic thing that predates the intense rhythmic assaults of 80s acts like Eric B & Rakim (Follow the Leader) & Public Enemy (Black Steel in the Hour of Chaos). The tracklisting on the disc is slightly confused- Harlem is actually the 5th track, while Touch Me is the 6th. Harlem compared to the live CBGB's version on the bonus disc on the 1st album reissue is much more listenable- this is music for cities (rather than music for airports). Touch Me is a most definite influence on such pervy synth pop as Depeche Mode's Master & Servant and Soft Cell's Heat. The Be Bop Kid veers close to comedy, which is fine- imagine a rockabilly song for an imagined film of The Wild Boys (it also predicts Vega's 80s hit single whose name I've forgotten...). Las Vegas Man is almost palatial, having more in common with Yellow Magic Orchestra or the more ambient Japan (eg Taking Islands in Africa, which featured YMO's Sakamoto) than with the intense underground sounds of Cabaret Voltaire or Pere Ubu. A demented lullaby that's post pop? Shadazz is another utter favourite- Rev whirring charming electronic motifs across a pop song- this makes complete sense when contrasted to say The Neptunes or Timbaland today. Dance is more in line with the first album- a song like Johnny. The bonus track Super Subway Comedian (er?) shows that Suicide's outtakes were as wonderful as their officially released material- which is kind of stressed by the bonus disc.

Suicide the second album is reissued in a deluxe form, if only record companies took this amount of care! - it's as well put together as Rhino's Loaded deluxe edition or the V-2 Associates reissues from 2000 (Fourth Drawer Down, Sulk). I've liked Suicide's material since- especially songs like Rain of Ruin and Wrong Decisions- but this album is the one. It's also one of the key electronic albums to be released in the 1980s- alongside such classics as Penthouse & Pavement, Red Mecca & Travelogue. Just lovely...