Invasion b/w Murder One
Alan Vega
Invasion b/w Murder One
Boomkat Product Review:
Sacred Bones highlight the future-primitive timelessness of Alan Vega (Suicide) with two machine rockers from the crypt, both previously unreleased and worthy of attention, prepping the way for “lost” album ‘Mutator’
Although surely requiring little introduction, Alan Vega (1938-2016) was the pioneering downtown NYC artist who formed seminal no wave group Suicide in the late ‘70s and thus created a legendary bridge between the drive systems of early rock ’n roll, punk and industrial music. Sacred Bones now have the honour of unleashing two Vega productions that never saw light of day when he was alive, throwing down two cuts made decades apart that display his utterly timeless swagger.
The techno hammer bang and magisterial, yet restrained, riffs of ‘Invasion’ were put down in 2014-15 during sessions for what would become the posthumous album ‘IT’ and hit right below the belt in a mean, sleazy way with growling vocals and thrust that put many other operators (most a fraction of his age) from the so-called “noise techno” milieu to shame. The 1997-98 production of ‘Murder One’ comes from the “lost” session for his ‘Mutator’ album, due on the horizon with Sacred Bones, and exemplifying his singular style - one would be hard pushed to place it firmly in any decade from the ‘70s to now.
Zingers.
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Boomkat Product Review:
Sacred Bones highlight the future-primitive timelessness of Alan Vega (Suicide) with two machine rockers from the crypt, both previously unreleased and worthy of attention, prepping the way for “lost” album ‘Mutator’
Although surely requiring little introduction, Alan Vega (1938-2016) was the pioneering downtown NYC artist who formed seminal no wave group Suicide in the late ‘70s and thus created a legendary bridge between the drive systems of early rock ’n roll, punk and industrial music. Sacred Bones now have the honour of unleashing two Vega productions that never saw light of day when he was alive, throwing down two cuts made decades apart that display his utterly timeless swagger.
The techno hammer bang and magisterial, yet restrained, riffs of ‘Invasion’ were put down in 2014-15 during sessions for what would become the posthumous album ‘IT’ and hit right below the belt in a mean, sleazy way with growling vocals and thrust that put many other operators (most a fraction of his age) from the so-called “noise techno” milieu to shame. The 1997-98 production of ‘Murder One’ comes from the “lost” session for his ‘Mutator’ album, due on the horizon with Sacred Bones, and exemplifying his singular style - one would be hard pushed to place it firmly in any decade from the ‘70s to now.
Zingers.
Boomkat Product Review:
Sacred Bones highlight the future-primitive timelessness of Alan Vega (Suicide) with two machine rockers from the crypt, both previously unreleased and worthy of attention, prepping the way for “lost” album ‘Mutator’
Although surely requiring little introduction, Alan Vega (1938-2016) was the pioneering downtown NYC artist who formed seminal no wave group Suicide in the late ‘70s and thus created a legendary bridge between the drive systems of early rock ’n roll, punk and industrial music. Sacred Bones now have the honour of unleashing two Vega productions that never saw light of day when he was alive, throwing down two cuts made decades apart that display his utterly timeless swagger.
The techno hammer bang and magisterial, yet restrained, riffs of ‘Invasion’ were put down in 2014-15 during sessions for what would become the posthumous album ‘IT’ and hit right below the belt in a mean, sleazy way with growling vocals and thrust that put many other operators (most a fraction of his age) from the so-called “noise techno” milieu to shame. The 1997-98 production of ‘Murder One’ comes from the “lost” session for his ‘Mutator’ album, due on the horizon with Sacred Bones, and exemplifying his singular style - one would be hard pushed to place it firmly in any decade from the ‘70s to now.
Zingers.
Boomkat Product Review:
Sacred Bones highlight the future-primitive timelessness of Alan Vega (Suicide) with two machine rockers from the crypt, both previously unreleased and worthy of attention, prepping the way for “lost” album ‘Mutator’
Although surely requiring little introduction, Alan Vega (1938-2016) was the pioneering downtown NYC artist who formed seminal no wave group Suicide in the late ‘70s and thus created a legendary bridge between the drive systems of early rock ’n roll, punk and industrial music. Sacred Bones now have the honour of unleashing two Vega productions that never saw light of day when he was alive, throwing down two cuts made decades apart that display his utterly timeless swagger.
The techno hammer bang and magisterial, yet restrained, riffs of ‘Invasion’ were put down in 2014-15 during sessions for what would become the posthumous album ‘IT’ and hit right below the belt in a mean, sleazy way with growling vocals and thrust that put many other operators (most a fraction of his age) from the so-called “noise techno” milieu to shame. The 1997-98 production of ‘Murder One’ comes from the “lost” session for his ‘Mutator’ album, due on the horizon with Sacred Bones, and exemplifying his singular style - one would be hard pushed to place it firmly in any decade from the ‘70s to now.
Zingers.
Pressed on transparent Red 12" vinyl.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Sacred Bones highlight the future-primitive timelessness of Alan Vega (Suicide) with two machine rockers from the crypt, both previously unreleased and worthy of attention, prepping the way for “lost” album ‘Mutator’
Although surely requiring little introduction, Alan Vega (1938-2016) was the pioneering downtown NYC artist who formed seminal no wave group Suicide in the late ‘70s and thus created a legendary bridge between the drive systems of early rock ’n roll, punk and industrial music. Sacred Bones now have the honour of unleashing two Vega productions that never saw light of day when he was alive, throwing down two cuts made decades apart that display his utterly timeless swagger.
The techno hammer bang and magisterial, yet restrained, riffs of ‘Invasion’ were put down in 2014-15 during sessions for what would become the posthumous album ‘IT’ and hit right below the belt in a mean, sleazy way with growling vocals and thrust that put many other operators (most a fraction of his age) from the so-called “noise techno” milieu to shame. The 1997-98 production of ‘Murder One’ comes from the “lost” session for his ‘Mutator’ album, due on the horizon with Sacred Bones, and exemplifying his singular style - one would be hard pushed to place it firmly in any decade from the ‘70s to now.
Zingers.
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