Alienation is the prevailing theme, though the lo-fi instrumental pieces are fragile and seductive.
"In its expanded state B9 transforms from a spiky little communique to a lucid overview, following the scene as it slinks calmly away from sinister industrial impulses into the lustrous commercial zone of new wave. To order simply click on the shopping cart button below the cover image (having chosen the correct shipping option), or else contact us by email. THE NEON JUDGEMENT Factory Walk (live)Īvailable on double gatefold vinyl and CD. Cover art by Victor Vasarely, based on a 1981 poster design for The First Belgian Rhythm Box Contest by Hennebert.ġ0. Mailorder copies of the vinyl ordered from LTM include a CD copy in polywallet. Gatefold vinyl package (red and blue vinyl) includes detailed liner notes. Mostly taken from rare singles, these include songs by The Names, Marine, Front 242, The Neon Judgement, Siglo XX, Allez Allez, Berntholer, Nausea, Jung and Isolation Ward. Now issued on double vinyl in a gatefold sleeve, with new artwork, this deluxe edition features ten additional tracks by other Belgian artists.
#Suicide 23 minutes over brussels code
Originally issued by Sandwich Records in May 1981, B9 featured ten exclusive tracks by a range of diverse electronic and underground artists including Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese - the latter the first recording project by Daniel Bressanutti of Front 242. This deluxe 2xLP coloured vinyl edition of popular compilation album B9 offers a comprehensive overview of postpunk and cold wave music produced in Belgium between 19. Ballads like “Cheree” and “Dream Baby Dream” are all the prettier and sadder for having emerged from such a savage act.Various Artists \ B9: Brussels Cold Wave 1979-1982 Vega, for all the legends around his hyper-violent live sets, could wrangle something beautiful and durable from his band’s tangle of live wires. Album kickoff “Ghost Rider” still makes almost all the rock and roll that came after it feel like a wholesome night of cotton candy at the fair - lots of hippie bands sang things like “America’s killing its youth,” but Vega made you feel the blood on your hands.īut there are reasons that Bruce Springsteen still covers “Dream Baby Dream” (and you should read the Boss’ own tribute to Vega). “Frankie Teardrop” was like a blues parable without God to hope for: parenthood as living death, city life as mind-breaking panic. The band, especially its 1977 studio debut, still shocks for the brutality of its worldview. But Vega channeled the old rockabilly ghosts as he strutted and yelped into the void. Rev’s pedal-shredded, organ-drum-machine setup was like nothing else at the time. But as a scene codified around the term, Suicide had already blown up the ship. Suicide was perhaps the first popular band to use the phrase “punk music,” at a time when the darker connotations of that word were way out front. Unlike peers such as Kraftwerk, which used nascent electronic instruments to imagine a smooth, orderly future, or Giorgio Moroder, who used synthesizers to create a dancefloor utopia, Suicide sounded like Elvis Presley if he’d never made it into Sun Studio and instead wound up in “Taxi Driver.” But right away, Suicide’s music and presence was like something from a failed future. Suicide were already old guys when the band showed up on the New York scene in the early ‘70s – Vega, nee Alan Bermowitz, was born in 1938.
But pop music – including electronic, punk, and anything else with a mean streak – is now left without one of its only true antagonists.
The billing almost didn’t seem real, in part because Suicide had long become one of those bands, like the Velvet Underground, whose influence and lore far outpaced the number of people who had actually seen the act in its ‘70s prime – the shows with the swinging motorcycle chains, bloody faces and axes thrown at band members onstage.Īfter singer Alan Vega died over the weekend at 78, that show will have to go on without Suicide (Desert Daze organizers say they are plotting a tribute). The fest was going to be the NYC duo’s first L.A.-area show in 16 years. Suicide was supposed to headline the upcoming Desert Daze festival in Joshua Tree.
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