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Jul 27, 2017The music enables Vega’s voice as his best accompanists have: providing the expository setting and minimalistic bedding necessary for Vega to project his scene upon and float above. His delivery will sound strange to those unfamiliar, but it will be oddly cozy to those who have known it all along.
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MagnetSep 18, 2017Vega rarely got the opportunity to be heard beyond the underground, so clarity--in passing--was essential. And all the more piercing for it. [No. 146, p.61]
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Aug 17, 2017Barely any light gets in during nine tracks that all sprawl over five minutes, titles such as DTM. (Dead To Me), Screamin’ Jesus and the racism-savaging Duke’s God Bar harnessing the rage Vega called an energy into seething walls of multi-tiered electronic cacophony, wailing guitars and jackhammer beats, although the closing Stars carries the underlying optimism that was also a crucial element in his work.
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The WireAug 9, 2017It was recorded the same year and it is a fierce final epistle. [Aug 2017, p.52]
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MojoJul 27, 2017Vega's spirit still blazed with righteous passion even when his body was giving out. Now it glowers like a ghostly light sculpture from beyond the grave, predicting current atrocities and still bang on for modern times. [Sep 2017, p.89]
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Jul 27, 2017Knowing he was crafting his farewell, Vega leaves as he arrived, raging over Suicide-style industrial grinds.
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Jul 27, 2017His finest work since the first two Suicide LPs.
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