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On those occasions when Suede needed a reboot, they would often look to their debut for guidance. Thirty years on from its release, you can see why. Across the years, the album has often been discussed in terms of its proto-Britpop ‘moment’. But it holds up superbly freed from that context as a deeply distinct and thrillingly flash statement of what Suede do, creating its own world while doing practically everything it can to grab the attention.
With punk energy, glam theatricality, rock swagger, Smiths-ian virtuosity, pop melodies and hints of British art-rock to hand, the album thrives in the push-pull between the melancholia of humdrum certainty and a sense of yearning for more, for transformation. It exists in a state of sweaty, feverish and sexualised longing between the sticks and the stars, with fulfilment tantalisingly close to hand: as bassist Mat Osman notes below, Suede’s gathering momentum at the time energises the album. And its tensions are conveyed bracingly upfront, where Brett Anderson’s lunging vocals and lavish lyrics tussle with Bernard Butler’s serpentine guitar work and voracious magpie sensibilities.
Butler drew from a wider pool than received positions on Suede might suggest. The Drowners churns in Children Of The Revolution’s wake, clearly, but the meltingly gorgeous Breakdown was made with the rather more unlikely Rod Stewart (The First Cut Is The Deepest) playing nearby. For Metal Mickey, the influence was The Shoop Shoop Song. And never mind Select magazine’s famous ‘Yanks go home’ cover: Butler’s reference for the cascading riff to the heady Animal Nitrate was Smells Like Teen Spirit. Here was a band hungry to be heard, capable of trashing indie-pop restraint and shoegaze reserve with a refusal to merely exist in their own bubble.
هذه القصة مأخوذة من طبعة August 2023 من Record Collector.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة August 2023 من Record Collector.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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At the peak of their powers in the early 70s, by 1975 there were signs that Led Zeppelin were burning out, and their legendary appetite for excess, not to mention stadium-straddling, mythically charged, epically inclined hard rock, might be waning.
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Breaking new ground for black music in Britain from his teenage years in Matumbi in the early 70s, Dennis Bovell went on to become one of reggae's most highly regarded producers, helping popularise lovers rock. He also played a pivotal role in post-punk's experimental incorporation of dub influences on records like The Slits' Cut and The Pop Group's Y. As new compilation, Sufferer Sounds, reaches back to his early days to compile some of his best early dub plates, Lois Wilson gets the full backstory from one of British music's most enduring forces.
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