Suede

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classic or dud
search and destroy

i can't believe this one hasn't been done yet.

gareth, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I agree, Gareth - I've meant to do it myself. But forgive me for saying that C/D and S/D may not be the most interesting approach. Even people who hate the sound of Suede (and their number is legion) may well agree that they were 'significant'. So - I think there's a discussion to be had that's not particularly about how much we like / dislike them (and I'm sure your contribution will be grate).

the pinefox, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

It's been done enough in other threads, though.

I would've liked their 2nd album lots if it weren't so damn over the top AND stupid. Brett Anderson should not trill. From what I've heard after that rekkid, he hasn't improved much. The music was quite agreeable, though (if a bit grandiose and grandiose).

David Raposa, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I heard Brett sing unaccompanied once, GAWD was it ever funny!!! Unlike Bernard Butler's solo 'songs', which are just so fucking stupid and boring that they retrospectively put me off the first two Suede albums, never mind the recent ones which are fucking stupid and boring but almost funny. "Wild Ones" and "Stay Together" are great though!

dave q, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

anyone here care to suggest that brett has ever written a good lyric?

Alan Trewartha, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Did "Still Life" rip off Ravel? I have the song sorta stuck in my head now, and I SWEAR there was an obvious classical music motif/movement they ripped off outright from some really obvious source.

David Raposa, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

If anyone dares suggest Brett can write a good lyric, I will laugh at them. Here's how you write a Suede song, throw the words "nuclear" and "shaking" and "machine" into every single verse, the more inexplicable the chorus the better.

That all being said, Suede are both classic and dud. Suede with Bernie were absolutely fantastic (despite godawful production), dogmanstar was one of my favorite albums for ages. Then Bernie left. Brett's voice has gotten continually worse (which would've happened with or without Bernie, just very convenient it happened when it did), and the song structures are not as good. They've become a parody of themselves. Though the dance mix of Everything Will Flow is fantastic.

Search: The first two albums, Stay Together EP

Destroy: Neil Codling.

Ally, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

What Ally said, 'cept I actually like the production on the first two records.

Andy, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I really liked "on the high wire, dressed in a leotard/there wobbles one hell of a retard." And "he writes the line wrote down my spine/It says 'oh do you believe in love there?' " always gave me a little shiver. So go ahead and laugh, Ally and Alan, I can take it. I'm with you on everything else you said, Ally.

Arthur, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I'm not really that familiar with them, just the really popular songs that get played at Britpop nights, like "Trash." One of those bands that rip off their predecessors (Bowie) so well that I can't help but enjoy them -- but wouldn't spend much money on them, either.

But they do a cover of Elvis Costello's "Shipbuilding" that I absolutely love, probably more so than the original. It's shorter, less subtle, and very glam, but great because of that .. check it out, if you're a Suede afficionado.

Chris, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

DESTROY ALL RECORDS BY SUEDE YOU EVER COME ACROSS

alex in mainhattan, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Destroy: Neil Codling.

Most unfair, he's left the band too. ;-) I always appreciated his Louche Bastard nature on stage.

Anyway, I'm hardly neutral in this, as I fired up the Suede fan mailing list six years back and have stuck with it ever since. They've definitely had their ups and downs, but I still like 'em -- still, the new album really does need to do better than the last. Right now I'm looking forward to the DVD video collection, and they just played in Portugal and apparently did a great job.

Ned Raggett, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

You need the word "animal" too, Ally.

I think : Bernard-era - not very good at all. Bad production, bad Bowie impersonation from Anderson and as everyone agrees, mainly dire words. "To the Birds" (B-side of The Drowners) is ace though.

"Coming Up" - similar production, slightly worse songs, a few good hooks - overall the sound of wheels spinning.

"Head Music" - Their best. Inessential, but likeable.

As for Pinefox's question about significance - I'd say not, at least not in any definition of 'significance' that I recognize. They were/are a competent glam-rock band for the 90's who failed to transcend their all-too-obvious influences (Bowie/Steve Harley/Roxy).

Dr. C, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I love them. Even their b-sides collection is ace. "Head Music" is their worst tho, in my opinion. I hope there's a new one soon, and hope it's better than "Head Music".

Sean, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

A couple of observations. David their second album is great precisely because it's over the top, grandiose and stupid. If this is the sound of a band falling apart then more bands should do it. It's one of Elton John's favourites, which ordinarily would be enough to bury it in lava but I'm with Reg on this one.

The beautiful ones has the best lyrics of any song written in the 90's.

Billy Dods, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I'm back to say their debut may be one of my favorite albums ever. Love the third one, too.

Anyone heard Bernard's solo LP? It was so boring and bland I wanted to fling it in the garbage; traded it in for a couple bucks instead.

Sean, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

His solo LPs are terrible, why did he do that? He can't sing you know.

Ally, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

He actually carried off fairly well live, but that was an unplugged show and he wasn't straining very much. But yes, when I first heard him sing, I thought it was a bit of a reach...

Ned Raggett, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Hardcore Suede fans tend to = dud though, I know a few and they're embarassing.

DG, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

I see, you hate me, DG. *cries*

Ned Raggett, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Not you, you silly Raggetty person. People who I know who sign their emails "The one and only trash pop slut", that kind of thing.

DG, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Suede were great. My 90s band. Since I missed Moz/Marr & Co in the 80s, Suede had to compensate... Awesome live, if you dig that kind of "You love us and We know it" performances. Meeting them was great. Brett chatted up my girlfriend, and I chatted up Brett. Those were lovely times. I really do believe it is one of the best examples of "love em or hate em" one can think of.
I never played "Head Music" in its entirety, note. But the singles up to and including "She's in fashion" are great. And cd1 of "Lullabies", obviously. And "Stay Together"... Is better than "Whatever"!

Simon, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Back in the day I was a downright slavering fanatic, which seems a bit sad in retrospect. Their first four or five singles were absolutely flawless, with nary a dud on them. Everything else up through and including Comiing Up has tended to be patchy, though there's still some good songs to be found.

That said, Head Music was the absolute end for me. It was painfully dull, and the lyrics were so beyond the pale it just seemed ludicrous to keep listening. I tried liking it (in fact I still sort of like Can't Get Enough), but in the end I've lost all affection for them.

Still, I'd probably get the dvd if it wasn't Region 2 encoding.

Nicole, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Suede, the Bauhaus of the 90s (the lyrics, the bowie-isms, the hysteria?, maybe better on the music side, but then Brett&co didn't record a standard like Bela Lugosi's Dead...

erik, Wednesday, 31 October 2001 01:00 (sixteen years ago) Permalink

Insignificant. The fake-gay flip-side of Oasis. But as with Oasis capable of some great songs. I like 'Animal Nitrate', for that tagged- on wank-solo, 'Saturday Night' and 'Beautiful Ones'. Also liked: those hilarious Brett love-handles and Neil Codling was just a classic beautiful "me, I'm very bored" English boy.

Omar, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

significant. wow, i get to disagree with Omar! now, i typed a fairly long answer to this, which seems to have disappeared. so a truncated answer will suffice.

i agree with Ally that they became a parody, well rather a facsimile of themselves around Coming Up

i disagree with Ally saying this is a bad thing. For me Coming Up is the best album they did. it has an ease, an effortless, like the pressure to be grandiose a la DMS had been lifted. By The Sea, The Chemistry Between Us absoultely superb. Beautiful Ones and Trash great singles. i like the spangly shinyness of this album, which wasn't present on the earlier stuff. in this way i like to think of it as an anglo Hit To Death In The Future Head. Ilike the fact that Bernard had gone by this point. the adding of Codling - a good move. it is suede being themselves. a parody? yes, possibly. i want to say 'trite in a good way' here. i want to say Bretts singing is very good on this album.

to be honest, this is the only one i play regularly. but Dog Man Star very good too. in places. Wild Ones, New Generation, 2 of us in particular. daddys speeding too. it is grandiose, but i think they aimed high, and only partially succeeded. still, some great stuff on there though.

they seem to have escaped the 90s pretty much unscathed though. in comparison to their contemporaries anyway. but then, who are their contemporaries. surely we're not suggesting blur, supergrass and oasis are we? i do hope not. Pulp, yes maybe. but they have become too closely identified with Different Class. they are unable to escape that moment, it signifies a moment too closely. post DC they have been dirgeful.

i am interested in whether the pinefox is a Suede fan. this seems unlikely, but then his liking of oasis and non-love of nick drake was also surprising.

gareth, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

How were they significant, Gareth? They didn't change anything, for better or worse. They didn't do anything which hadn't been done (better) before. You might say they were very good, not that I agree, but significant? No.

Dr. C, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

I find them well-nigh unbearable now. Dog Man Star is a record I honestly don't think I could ever physically sit through again, even for money. Honestly, there's fuck-all difference between them and Placebo. Isn't glamour and decadence meant to be intelligent and fierce and surprising? Brett Anderson seemed like he'd gone and bought a Decadence Kit from Boots. But like a lot of people I fell for it at the time - now I'm prouder of once being into Carter USM, frankly.

Tom, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

For me the magic has worn off and left a lot of rusty glitter. That much is true. No, they don't mean what they did. And so, no, the listening experience is not what it was. (I was never a Fan, wearing the togs, believing the hype, or anything - but I did respect the music, and close-up, live, they were sweatily astounding.)

But I did think them significant. I think they represented a union of 'indie world' and 'media hype' - of alternative and mainstream, more simply - which seems natural now but was genuinely strange then. They did on (retrospectively) a homely scale what Oasis then went and did on an absurd scale. In other words, I think they represent a major stage in The Reclassification Of 'Indie'.

I also think they had good material, and good musicianship. The first LP was a fine debut, but DMS beat it - it was a remarkable record, a masterpiece, within the Suede perspective. If you don't like that 'world' (lyrics, sound etc) then it's just an ugly folly, I daresay, but if you do (as to an extent I did when it came out) it felt like a very major achievement. Better, I'd still say, than Different Class, This Is Hardcore, The Great Escape, Be Here Now and a bunch of other Britpop behemoths. (But not necessarily better than, for instance, Parklife - another record I view as Significant.)

the pinefox, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Can we not just forget about this silly little band? Were they really influential? I can't imagine they were. Maybe in some narrow field of idiocy.

Nick, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

THE DROWNERS IS THE BEST SONG EVER, WHY HAS NO ONE MENTIONED THIS YET?

Ally, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Nick just doesn't want people to be reminded of the fact he looks like Neil Codling.

Nicole, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

That’s it, you had to get into their “perspective”, their “Suedeworld”.

I loved the flashness of Coming Up when it came along in the autumn of 96. You just had to admire Anderson’s survivalist instincts despite it being obvious they were never to be centre stage again. It had a cetain romance about it. They went for that deliberately cold, robotic, and mechanized sound with Head Music but what initially to me sounded brilliant soon wore away after a few weeks – it was the Suede LP that was stranded without context.

Saw them from speaker distance in the 100 club between their first 2 singles at the height of the hype and it was fantastic esp. after spending the summer at lank haired grunge gigs. I remember some of the radio interviews around the time of the DMS release. Brett seemed fucked out of it from the drugs but the album seemed like a strange but necessary anomaly in those last months of 1994 amongst the explosion of jungle, trip hop and Loaded culture. Anderson might have been an asshole but rather him than the whining and supercilious musoness of Butler.

Fave songs: The Chemistry Between Us, Wild Ones,

David Gunnip, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

I actually own The Drowners.

But THEN I SAW SENSE

Nick, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

That was around the time Sense and Sensibility came out, wasn't it? Gotta love that Hugh Grant...

Nicole, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Pinefox: In other words, I think they represent a major stage in The Reclassification Of 'Indie'.

yes, i believe pinefox is correct here. although curiously i'm not sure whether they reaped the benefit of this or not (i suppose they sold a lot of records).

Tom: Isn't glamour and decadence meant to be intelligent and fierce and surprising? Brett Anderson seemed like he'd gone and bought a Decadence Kit from Boots.

i'm not necessarily convinced of this. why should glamour/decadence be the above? i kind of like the fact that it was a bit faux in that respect. i think of the 'shtick' as being people from seaside towns looking towards metropolis as being exciting and glamourous, rather than glamourous itself. i think this removal, a slight distance if you will, lends it the english quality, as also seen in the obvious comparisons (tindersticks, the bowie of 'london boys', smiths) and also perhaps the less obvious (the sundays - although i'm not sure how i would articulate what i mean here), which for example the lumbering plod of oasis or blur could never hope to achieve.

the production (esp the drums) reminds me in a way of happy mondays (i think it is the big echoey drums, there is an 80s-ness about that)

The one and only trash pop slut, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Pinefox: In other words, I think they represent a major stage in The Reclassification Of 'Indie'.

yes, i believe pinefox is correct here. although curiously i'm not sure whether they reaped the benefit of this or not (i suppose they sold a lot of records).

Tom: Isn't glamour and decadence meant to be intelligent and fierce and surprising? Brett Anderson seemed like he'd gone and bought a Decadence Kit from Boots.

i'm not necessarily convinced of this. why should glamour/decadence be the above? i kind of like the fact that it was a bit faux in that respect. i think of the 'shtick' as being people from seaside towns looking towards metropolis as being exciting and glamourous, rather than glamourous itself. i think this removal, a slight distance if you will, lends it the english quality, as also seen in the obvious comparisons (tindersticks, the bowie of 'london boys', smiths) and also perhaps the less obvious (the sundays - although i'm not sure how i would articulate what i mean here), which for example the lumbering plod of oasis or blur could never hope to achieve.

the production (esp the drums) reminds me in a way of happy mondays (i think it is the big echoey drums, there is an 80s-ness about that)

the one and only trash pop slut, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Why, Gareth? Well because if it isn't then what's the difference between 'glamour' like wot Brett did and 'piling on the slap and getting off your face' like wot everyone in Ritzys nightclub does?

Tom, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

There are different types of glamour and different types of attitude; not all glamour can be Marilyn Monroe; some of it needs to be Patsy & Edina.

I mean, just think of it this way, Brett looked less Instant Decadance than the Manics did. I mean, talk about putting any old clap on and then pretending to be fabulous, lordy.

NICK YOU HAVE NO SENSE.

Ally, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

I luv Gareth, if the real bloke who signs himself 'the one and only trash pop slut' saw that, he'd be SO pissed off.

DG, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

"The Drowners" is my favorite single of the early 90s. Maybe favorite 90s single, period, I'll have to think about that.

A Homosexual Who's Had Several Bisexual Experiences, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

To the twelve-year old jamesmichaelward, Stay Together was one of the bestest things ever.

jamesmichaelward, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Stay Together was beautiful.

So what does everyone think of the McAlmont & Butler album then?

Ally, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

I really liked it -- McAlmont is a great singer and performer. BB was a mentalist to think people would rather listen to his irritating weedy voice than McAlmont or Brett.

Nicole, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

"McAlmont and Butler" is fantastic. How the hell did Bernard Butler get from that to....ugh...whatever he did afterwards?

Norman Phay, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

'Animal Nitrate' was their best song I thought. I want to know whether other people thought that was their best song.

maryann, Thursday, 1 November 2001 01:00 (sixteen years ago) Permalink

Of course it's amazing. Some days I prefer "Metal Mickey".

Sean, Friday, 2 November 2001 01:00 (sixteen years ago) Permalink

"What does it take to turn you on...?!" is one the best phrases in pop.

Simon, Saturday, 3 November 2001 01:00 (sixteen years ago) Permalink

But they do a cover of Elvis Costello's "Shipbuilding" that I absolutely love, probably more so than the original.
No way Chris. The one and only version of "Shipbuilding" is and will always be Robert Wyatt's. But nevertheless it is probably the best song Brett Anderson has ever sung. ;-)

alex in mainhattan, Monday, 5 November 2001 01:00 (sixteen years ago) Permalink

Brett Anderson as shipbuilder = too great a leap of imagination

Nick, Monday, 5 November 2001 01:00 (sixteen years ago) Permalink

Well, I like "Moving" and "Animal Lover" (and its deluge of guitar in the last part) but I just find them less brilliant than the rest of the album. More b-sideish (and not the greatest b-sides they had at the time).
And as for "Animal Lover" being a perfect lead into "The Next Life" it is good but "He's Dead" would have done that better, for instance.
And concerning the phasing effect, I love it and Butler used it A LOT at the time. It was the first pedal I bought due to that !

AlXTC from Paris, Wednesday, 12 April 2017 08:02 (one year ago) Permalink

There's something very alien in the whole thing (structures, sounds/production, lyrics...) whereas the following records are more "classic".

I totally agree, even though "Coming Up" is a more polished version of the debut, the latter is brash and exhilarating in ways that their more controlled follow-up albums can't touch.

NoTimeBeforeTime, Wednesday, 12 April 2017 12:57 (one year ago) Permalink

hey anti-Moving brigade, check these versions!

BBC session! (a year before the album)

https://www.youtube.com/watch?v=PHiQbp93rzg

Brixton 94!

https://www.youtube.com/watch?v=_fd0zLi4in8

piscesx, Wednesday, 12 April 2017 13:50 (one year ago) Permalink

oh I'm not anti-Moving at all (actually I don't think there's a single song I really dislike from the Butler era. except maybe "The Power").
I simply think it's not as good as some of their b-sides of the time and could have been replaced advantageously on the album by one of those !

AlXTC from Paris, Wednesday, 12 April 2017 14:11 (one year ago) Permalink

All this revisionist stuff about placing B-sides on Suede and Dog Man Star is pointless, IMO... the first disc of Sci-Fi Lullabies exists, so it's not like anyone lost out. I wouldn't change a thing about any of those records.

...so music and chicken have become intertwined (Turrican), Wednesday, 12 April 2017 14:29 (one year ago) Permalink

Well, I never said "Moving" or "Animal Lover" HAD to be removed (since I said I loved the album as it is, with its imperfections).
The question was whether these tracks were as strong as the rest of the album : I don't think so, some think so.
No problem !

AlXTC from Paris, Wednesday, 12 April 2017 14:41 (one year ago) Permalink

Speaking of "Sci-Fi", I wonder why "Painted People" was the only b-side rejected...

AlXTC from Paris, Wednesday, 12 April 2017 14:46 (one year ago) Permalink

It wasn't! There's a couple of others that didn't make it on there from both eras.

...so music and chicken have become intertwined (Turrican), Wednesday, 12 April 2017 14:59 (one year ago) Permalink

Ah I don't really know the post Butler era b-sides... It seemed unfair since it's a pretty good early Suede track !

AlXTC from Paris, Wednesday, 12 April 2017 15:10 (one year ago) Permalink

'Dolly' and 'This World Needs a Father' ... both Butler-era, both not on Sci-Fi Lullabies

...so music and chicken have become intertwined (Turrican), Wednesday, 12 April 2017 15:13 (one year ago) Permalink

Moving is great. I like how it borrows heavily from XTC's Generals & Majors for the chorus. Animal Lover is easily the weakest song on there.

kitchen person, Wednesday, 12 April 2017 15:15 (one year ago) Permalink

'Dolly' and 'This World Needs a Father' ... both Butler-era, both not on Sci-Fi Lullabies

― ...so music and chicken have become intertwined (Turrican)

Asda Town as well. That and This World Needs a Father should have been on there.

kitchen person, Wednesday, 12 April 2017 15:16 (one year ago) Permalink

Ah never noticed for "Dolly" and "this World" ! Maybe because I had the singles...

AlXTC from Paris, Wednesday, 12 April 2017 15:19 (one year ago) Permalink

'This World Needs a Father' in particular is really underrated, I think.

...so music and chicken have become intertwined (Turrican), Wednesday, 12 April 2017 15:19 (one year ago) Permalink

Ah for me it would be "whipsnade". One of their absolute finest moments afaic.

AlXTC from Paris, Wednesday, 12 April 2017 17:10 (one year ago) Permalink

At least they've been known to play 'Whipsnade' live, I'm not sure 'This World Needs a Father' ever has.

...so music and chicken have become intertwined (Turrican), Wednesday, 12 April 2017 18:12 (one year ago) Permalink

Well, I like "This World" and it has something immediate and catchy but I don't know, there's also something second rate in both the songwriting and production.
It's catchy and simple like a single but sounds and lacks depth like a b-side !
It doesn't really make sense, does it ?

AlXTC from Paris, Thursday, 13 April 2017 07:38 (one year ago) Permalink

Love the first album, parts of the second (especially the b-sides) and "Trash" - the rest I don't care about much.

Suede were important to me when they first came on the scene because their sleazy sex glam was an epiphany to me about what I didn't like about Grunge. I was a kid raised on images of Duran Duran so it took me a while before I realized, oh yeah, Mother Love Bone is pretty much the opposite of what I have learned to think was exciting. Suede emerged in all of that boring overcast Grunge bullshit and it was like, "OH YEAH, SEX!"

Fast forward a couple of years and my time with Suede was pretty much over. My divorce from their music was accelerated when I started dating this (American) girl who was obsessed with Britpop at the time who would put on the second Suede album and tell me things like "You see, the Asphalt World is really a clever play on words meaning the Ass Felt world." *farts*

yesca, Thursday, 13 April 2017 13:36 (one year ago) Permalink

Wait - are you people kidding, or are you mad? Animal Lover is by far my favorite song on this almost flawless album. It is a swirling ball of thrilling glam guitars, filthy lyrics, pummeling momentum and a glorious ending. The pause at 2:57 followed by that majestic chord strum is one of the most thrilling moments in all of music for me. When I'm listening to Animal Lover I can't imagine how any song could be better. I never tire of it. Thank God for Animal Lover, I don't know how I would manage to endure this otherwise hellish existence without it. Thank you for your consideration in this matter.

Migdalia Amygdala (Dr. Joseph A. Ofalt), Friday, 14 April 2017 02:01 (one year ago) Permalink

ten months pass...

Brett's book's good. Crazy short mind.

piscesx, Sunday, 11 March 2018 20:15 (three months ago) Permalink

Man, "Trash" is such a classic

niels, Saturday, 24 March 2018 09:07 (two months ago) Permalink

Very good Ed Buller piece which i'm sure has been posted on Suede threads. Some fascinating stuff in here

https://www.repeatfanzine.co.uk/interviews/ed%20buller.htm

“Trash is the only thing in the entire history of working with Brett, I think (pausing) I don’t know, you’d have to ask him. But I would say that Trash is the only thing that he’s still cross with me about. Everything else, if it didn’t turn out right, he forgave me, because enough turned out well that he was really happy with. If you listen to Trash on the 2003 Singles compilation, he actually re-recorded the vocals!”

piscesx, Saturday, 24 March 2018 12:52 (two months ago) Permalink

Sometimes the debut is the only music I can listen to these days

imago, Saturday, 24 March 2018 12:54 (two months ago) Permalink

Or rather, the only music that I'm compelled to hear. It happens every few months

imago, Saturday, 24 March 2018 12:55 (two months ago) Permalink

great stuff in that Buller interview indeed

Whereas on Daddy’s Speeding, he just got this weird thing in his head where he wanted the word speeding to sound like schhhpeeding (laughing), so it sounded like a car. He kept saying, “Does it sound like a car Ed?” And I was like (laughing), “Yes, it sounds like a car Brett – a big silver car going very, very fast!”

niels, Saturday, 24 March 2018 14:43 (two months ago) Permalink

the questions are hilarious though

10.Do you have a favourite opening and closing album track + a favourite song intro, middle-section and outro?

niels, Saturday, 24 March 2018 15:04 (two months ago) Permalink

Great interview.

When we started to do vocals, one of the agreements was that we wouldn’t use so many reverbs, we’d just use little delays. That obviously just started to go out of the window, because Brett can’t stand his voice being dry – he can’t stand it! He has to have lots of effects.

This explains a lot.

2018 has to be better (snoball), Saturday, 24 March 2018 17:02 (two months ago) Permalink

one month passes...

New album, The Blue Hour, out September 21! Produced by Alan Moulder. Had no idea they were in the studio again but very pleased to hear they are.

http://thequietus.com/articles/24495-suede-blue-hour-album

early rejecter, Monday, 30 April 2018 16:23 (one month ago) Permalink

Anderson was hinting at greater ambition. We'll see. Exciting though!

imago, Monday, 30 April 2018 16:31 (one month ago) Permalink

Holy shit! Excellent news... their last two albums were fucking awesome.

Le Baton Rose (Turrican), Monday, 30 April 2018 16:55 (one month ago) Permalink

Hmm, I love Moulder but dunno if he's a good fit for the group. I guess it depends on what they are going for.

Josh in Chicago, Monday, 30 April 2018 16:58 (one month ago) Permalink

Could be a pretentious mess but they seems to have had a hold on things since the reunion, so I'm up for this this

PaulTMA, Monday, 30 April 2018 17:16 (one month ago) Permalink

I'm hoping for a pretentious mess tbh

imago, Monday, 30 April 2018 17:34 (one month ago) Permalink

They've been talking up making one since the last one. I'm just hoping it isn't too comically 'out there', in a Suede way.

Really enjoyed Night Thoughts, but it's going to take a lot to forget the awful Eastenders-dressed-up-as-Derek-Jarman movie that accompanied it for the two live album performances I saw

PaulTMA, Monday, 30 April 2018 17:40 (one month ago) Permalink

spoken word :/

kinder, Monday, 30 April 2018 18:41 (one month ago) Permalink

xps No-one manages to pulls off pretentious mess like Suede.

2018 has to be better (snoball), Monday, 30 April 2018 19:57 (one month ago) Permalink

yeah that film, jesus.

piscesx, Monday, 30 April 2018 19:57 (one month ago) Permalink

Also no-one manages to unnecessarily pluralise a word like me...

2018 has to be better (snoball), Monday, 30 April 2018 19:57 (one month ago) Permalink

I will listen to this, but their two recent albums have absolutely fitted into the genre of bombastic indie rock, and nothing more, a big turn-off for me. I've seen them play live for both (including that film), and when they play older songs it is as exciting as in the old days. I keep hoping that through playing them, they will manage to recapture some of that. Or something weirder! That preview video sounds pretty good, but on the album that's probably just gonna be a transition between two solid indie tunes.

Eyeball Kicks, Monday, 30 April 2018 23:11 (one month ago) Permalink

Dismissing anything by Suede as bombastic ... I mean, is there literally anything by this (awesome) band that can be described as subtle?

Josh in Chicago, Monday, 30 April 2018 23:57 (one month ago) Permalink

The Living Dead / My Dark Star Sleeping Pills / By the Sea etc

Eyeball Kicks, Tuesday, 1 May 2018 00:45 (one month ago) Permalink

Anyway, the adjective goes with the noun, and I don't think they recorded anything that could be described as bombastic indie rock prior to their reforming.

Eyeball Kicks, Tuesday, 1 May 2018 00:47 (one month ago) Permalink

The parts of Dog Man Star that I guess might be called bombastic (not by me) are certainly not indie rock.

Eyeball Kicks, Tuesday, 1 May 2018 00:50 (one month ago) Permalink

idk the recent albums sounds like Suede to me, albeit a touch more streamlined than their peak-era stuff. I listen to quite a bit of indie rock and can't think of any recent bands that sound much like 'em in any era. (and "The Living Dead" might be quiet but it's anything but subtle)

Simon H., Tuesday, 1 May 2018 01:22 (one month ago) Permalink

I Don't Know How To Reach You might be bombastic but it's as good as indie gets

imago, Tuesday, 1 May 2018 01:25 (one month ago) Permalink

one month passes...

What do we reckon? Very much takes off where Night Thoughts left off, which is no bad thing. Clearly not a 'single' in the traditional sense.
https://www.youtube.com/watch?v=Gqzvcj0-kF4

PaulTMA, Monday, 4 June 2018 17:16 (two weeks ago) Permalink

I thought that was Rose McGowen for a few seconds. Anyway, it's good but yeah, very "album track."

Josh in Chicago, Monday, 4 June 2018 17:43 (two weeks ago) Permalink

Not too surprised they've picked a slow burner, non-single single to kick off with, considering how they are talking up this new album.

PaulTMA, Monday, 4 June 2018 19:44 (two weeks ago) Permalink

Predictably, I love it. I've really been enjoying what Suede have been getting up to since they reformed.

Le Baton Rose (Turrican), Monday, 4 June 2018 20:43 (two weeks ago) Permalink

it's a beaut. If only they'd play over here!

Ned Raggett, Monday, 4 June 2018 22:03 (two weeks ago) Permalink


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