The likely lads return with their first album in 11 years, but is it a Libs classic?
Suede : Singles
Asphalt, terylene, glitter and grit…
As effete Southerners, Suede automatically appealed to those put off by the machismo of Madchester. Their brash glam rock was a wake-up call after fuzzy, E’d up indie dance. Their pronounced Englishness set the Britpop pendulum swinging. But while the ultimate Britpop image proved to be Liam and Patsy in bed under a Union Jack duvet, Suede were more likely to be found rutting on a grubby mattress with a person of indeterminate sexuality. “I’m a bisexual man who’s never had a homosexual experience,” said Brett famously - not a fashionable view by the time Oasis had stormed the ramparts.
This compilation of their 21 singles allows us to go back to Suedeville, where sex is cruel, housewives are lonely, youths go marauding through the nuclear night and the only escapes are transitory and chemical. Suede’s forte was in finding beauty in this bleak setting. Their best singles - ‘The Wild Ones’, ‘Animal Nitrate’, ‘Trash’, ‘Stay Together’ - celebrate the people who manage to gain self-esteem through desperate circumstances, who find love among grimness and identity through being alienated.
It was the tunes, however, that made these smalltown stories widescreen and turned squalor into art. Until their relationship self-immolated in mid-1994, Brett Anderson and Bernard Butler comprised one of the great songwriting partnerships. Butler’s way with a somersaulting melody and Anderson’s sleazy yowl resulted in singles that lit up the charts like a magnesium flash. From the unspooling guitars of ‘The Drowners’ to the thudding ‘New Generation’, Suede were deservedly objects of worship.
Butler’s departure threw them for a loop from which Suede have never recovered, although they put up a good fight, recruiting teenage guitarist and songwriter Richard Oakes and, later, whip-thin keyboard player Neil Codling. They (necessarily?) abandoned the path they’d embarked on with the wildly ambitious ‘Dog Man Star’. The result was the deliberately tinny and throwaway third album ‘Coming Up’ previewed with a suitably anthemic comeback single, ‘Trash’. Yet a year after Britpop’s high summer Suede found they were a sideshow rather than the main event. Now it was the Gallaghers who had, as Suede once did, so many great songs sparking out of their fingertips that they could scatter them promiscuously on B-sides. (The split didn’t do Bernard Butler much good either. While he made two sublime singles with David McAlmont using songs Suede had rejected, his solo career proved dead on arrival.)
From now on, people would expect certain things of Suede records. The lyrics would be about shopping precincts and tattooed mums and the music would be souped-up glam. 1999’s album ‘Head Music’ saw Suede automatically servicing these needs, but like a tired old tart seemed dead behind the eyes - probably a consequence of the enormous quantities of drugs still being shovelled away by all concerned. ‘Electricity’ was a straight ‘Trash’ rewrite. Suede were becoming self-pardodic, imprisoned in their imaginary concrete jungle.
Last year’s album ‘A New Morning’ attempted to introduce a new clean-living, bright-eyed-and-bushy-tailed Suede but seemed both unconvincing and hopelessly out of step, given that sleaze and sexual ambiguity were back in vogue. This compilation adds a couple of new tracks including the reggae-tinged ‘Attitude’, which Brett recently performed on ‘Ri:se’ wearing a pair of distressing leather trousers. It seemed to underline the inescapable fact that Suede’s heyday is long behind them - which this compilation attempts to conceal by running the tracks in non-chronological order. But that’s OK. Few bands scale the heights Suede did.
For shock factor, influence and sheer brilliance right from the get-go, they’re up there with Oasis, Nirvana, Strokes and Stone Roses and Smiths. Hear ‘Singles’ and taste what Suede once brilliantly termed “the love and poison of London” afresh.
Get 'Singles' at the NME Shop
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