It has been more than forty years since Martin Rev and Alan Vega met for the first time. As usual it’s difficult to assess the influence of different artists and bands. Especially if we’re speaking about “Suicide”. But at the same time, speaking of the group, there are no contradictions or doubts. Rather, nostalgia… This year, live album "21½ Minutes In Berlin, 23 Minutes In Brussels" turns 40 years - which rightfully can be called a cult work of its time. Cult - because every time listening to it, catching the rhythms of synthesizers and hearing the distant, monotonous singing of Alan Vega, you will imagine a different pictures. Perhaps this is the magic of “Suicide” - the scale that they allocate from simple sounds. And without using an orchestra for this. But with it, getting exactly to the goal. From the monotonous notes of the debut album, to the romantic sound of oda - "A Way of Live".

Like forty years ago, Martin Rev still records music - the artist's last album, is a fairly diverse work. Sudden withdrawal to noise rock was not complete for Martin. Rather, the musician found the very balance that allowed him not to get away from his roots, and make "Demolition 9" - a very special work.

Punk Globe: I know before you met Alan and before your career began, you had been a jazz musician exclusively. Was it difficult for you to, sort of, “reverse" the situation of being a jazz musician, and continue playing what you played?

Martin Rev: Not at all. I grew up on rock and roll and rhythm and blues. That was the music of my time. So I simply expressed what was always there.

Punk Globe: There is an opinion among critics that a significant damage to the style of Suicide was done by Ric Ocasek from The Cars, who produced all your late albums – except “American Supreme”. How do you personally feel about working with Ric? Do you think he helped you to find your sound?

Martin Rev: I don't think Ric damaged anything at all. We chose to work with him for those directions taken and learned a lot in the process. For example, even to the more purist, where's the damage in A Way of Life ?

Punk Globe: In this way – you’re right. The work itself very atmospheric and light.

Martin Rev: The only album he produced that I would have processed further would have been Why B Blue. And I caught up with doing that later on the 2 track remix for Mute.

And possibly overlooked by those critics who you refer to is that Ric made it possible for a third and fourth album when there were absolutely no other possibilities.

Punk Globe: In one of the interviews, you said that you were ordinary guys from the streets. Can you say that this has pushed you to "create" such unusual images? Such as your afro hairdo and Alan, who was whipping the audience with the chain.

Martin Rev: Sure, I imagine the fact that we were both born and raised in New York, among other influences, gave us a natural affinity for many of those images.

Punk Globe: You know, before our interview, I re-listened your work really profoundly. And I came across such an interesting thought – namely: your lyrics reminded me of the beatniks lyrics: a bit of Ginsberg, Corso - in some way, a little bit of Ferlinghetty. Who had influenced you in this regard?

Martin Rev: If you're referring to Suicide's lyrics, that would really have been better explained by Alan himself.

Punk Globe: But if we’ll speak about your creativity…What are your sources of inspiration ?

Martin Rev: My lyrics are probably effected by many ephemeral impressions. But it's the musical scenario of each piece that very consciously influences their content.

Punk Globe: Your last album, which was released – “Demolition 9”, is a real battle. Something cruel and... I dare say - satanic. The real equivalent of Milton’s “Paradise Lost”! The noise compositions stand in contrast to the almost classical ones. Can you tell us, what is the idea of such a serious opposition?

Martin Rev: Interesting impressions of Demolition 9…"Satanic" as well as Milton's 'Paradise Lost' I'm hearing for the first time for sure.

But would you call Milton's great work satanic? Of course not. So Perhaps you're referring to the conflict the poem is based on which is between the satanic and angelic forces.

Punk Globe: Yes, that’s what I mean.

Martin Rev: I can understand that a bit more and of course can only take it's comparison with Milton as very complimentary.

In any case there was no preconceived idea for the work other than musical, and those ideas rapidly transformed as it took form. It was an evolutionary process as most are, and only in the later stages did it start to reveal a glimmer of it's most organic structure.

Punk Globe:Now, so many years after, you can quite appreciate your experience in Suicide and as a solo artist. Although, first of all you are a musician. How do you feel about Suicide's success?

Martin Rev: Whatever Suicide's success actually is or isn't doesn't have much meaning for me except that it tends, in the positive sense, to generate a bit more revenue. “Suicide” is basically something I did. My present reality is what I do on the canvas I'm working on that faces me everyday. No amount of success is going to do it for me.

Punk Globe: The last and very personal question: For all of us, Alan Vega passed away quite suddenly. Tell us, if you could tell him anything. What would you say ?

Martin Rev: I think that would end up sounding a bit simplistic. I will leave any message to Alan to my more private moments.

Martin Rev would play the big concert as the member of “Wolf Eyes” project on 04.15.18

Get the tickets here:
https://www.elsewherebrooklyn.com/events/2018-04-15-wolf-eyes-martin-rev/