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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. Suicide had been a part of the performing arts scene in New York City's Lower East Side in the early/mid-'70s New York Dolls era. Their approach to music was simple: Rev would create minimalistic, spooky, hypnotic washes of dissonant keyboards and synthesizers, while Vega sang, ranted, and spat neo-Beat lyrics in a ...