Introducing the Band: Suede

[Shaun]

Io con Head Music lo baratterei, invece.

[AFX]

Esce una raccolta doppia dei Suede.

Suede's 'The Best Of' released on 1st november Suede, the band that radically shifted the axis of British pop music in the 1990′s, release their definitive Best Of album on November 1. The 2 CD compilation features all of Suede’s biggest hits, remastered by Chris Potter and is the only Suede hits compilation that has been fully endorsed by the band.

SpoilerShow

CD1
1 Animal Nitrate
2 Beautiful Ones
3 Trash
4 Filmstar
5 Metal Mickey
6 New Generation
7 So Young
8 Wild Ones
9 Drowners
10 Stay Together
11 Lazy
12 Everything Will Flow
13 We Are the Pigs
14 Can't Get Enough
15 Electricity
16 Obsessions
17 She's in Fashion
18 Saturday Night
CD2
1 Pantomime Horse
2 My Insatiable One
3 Killing of a Flashboy
4 This Hollywood Life
5 Europe Is Our Playground
6 My Dark Star
7 Sleeping Pills
8 By the Sea
9 She
10 Heroine
11 The Living Dead
12 To the Birds
13 The Big Time
14 The Two of Us
15 Asphalt World
16 Still Life
17 The Next Life

razzmatazz, barcelona, spain
26 november 2010

elysee montmartre, paris, france
28 november 2010

cirque royal, brussels, belgium
29 november 2010

cirkus, stockholm, sweden
1 december 2010

paradiso, amsterdam, netherlands
2 december 2010

columbiahalle, berlin, germany
3 december 2010

the o2 arena, london, england.
7 december 2010

[Pilgrim]

Video intervista ad NME.

http://www.nme.com/video/bcid/641069223001/search/NME

[AFX]

Ma soprattutto.... Brett Anderson risponde sul suo fake su Twitter!!!
ahahahahha

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http://www.nme.com/video/bcid/640919587001/search/NME

[AFX]

[youtube]http://www.youtube.com/watch?v=uuhmj5Ek ... r_embedded[/youtube]
4° album di Anderson solo in vista. Questa canzone non è ancora mixata, ma ne farà parte. Pare che sia a buon punto e uscirà nella prima metà del 2011

[Sobieskiego 7/6]

(ed e' anche parecchio bella! ho letto che il nuovo sara' influenzato addirittura da Siouxsie e PIL!?!?)

[AFX]

da NME

Suede played a greatest hits set to an ecstatic crowd at intimate west London venue Bush Hall last night (October 27).

The reunited five-piece, led by Brett Anderson, played 19 songs at the sold-out west London venue, with the majority of the crowd singing along to every track. They release 'The Best Of Suede' on Monday (November 1).

Playing the likes of 'Killing Of A Flashboy', 'Trash' and 'Animal Nitrate' early on, the Britpop band were clearly in their element during the gig.

Frontman Anderson exclaimed how pleased he was with the show before playing 'My Insatiable One', saying: "It's just lovely. It's lovely you're here and it's lovely to play these songs."

Anderson interacted with the crowd frequently, shaking hands with audience members and unbuttoning his black shirt for the majority of the performance, before asking them towards the end of the gig what song they wanted next.

"Do you want a good one or a shit one?" the singer challenged the crowd. "I'll give you a good one - I'll give the best one," he then declared as the band launched into 'The Wild Ones'.

Wrapping the main set up with 'Beautiful Ones', Anderson paused to ask: "It's been great, hasn't it? It's been lovely. It's a nice sort of gig!"

The band then briefly left the stage before returning for an encore which saw Anderson end the show in emotional style, singing 'To The Birds' with his hand clasped to his chest and saluting those in the crowd.

Suede played:

'This Hollywood Life'
'Killing Of A Flashboy'
'Trash'
'Filmstar'
'Animal Nitrate'
'Heroine'
'Pantomime Horse'
'My Insatiable One'
'The Drowners'
'She'
'Can't Get Enough'
'Everything Will Flow'
'The Asphalt World'
'So Young'
'Metal Mickey'
'The Wild Ones'
'New Generation'
'Beautiful Ones'
'To The Birds'

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[youtube]http://www.youtube.com/watch?v=P695NFQI ... r_embedded[/youtube]

[AFX]

editoriale dell'NME

It's Time We Recognise the Genius of Suede

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http://www.nme.com/blog/index.php?blog=146&p=9357&title=it_s_time_we_recognised_the_genius_of_su&more=1&c=1

Well slap my bony arse with an SM57 if the new Suede 'Best Of' hasn’t convinced me they’re the most under-rated band of the 90s. Don’t worry, I’m not about to trot out that tedious argument about how they “prefigured Britpop”, whatever that means.

But it’s true that they’ve been written out of the narrative. And as much as I love the fake Brett Anderson on Twitter, it does raise the question – why do we patronise Suede as cuddly cartoon dandies, instead of celebrating them as one of Britain’s greatest and most distinctive bands?

It’s difficult to imagine now just how weird and exhilarating their debut single ‘The Drowners’ must have sounded in 1992. Back then, there was plenty of thrilling guitar noise about, from Ride to Sonic Youth, but no-one could sing. Glamour was in short supply, unless the idea of Cud doing a Peel Session was your idea of wild rock n roll flamboyance.

People bang on about Brett’s androgynous image - but lyrically, sexual ambiguity was the least interesting thing about him. Like all the best songwriters, he carved out his own unique voice: a kind of druggy English gothic. In songs like ‘Stay Together’, fantastical elements (all those nuclear skies and poison rain) co-exist with the dismal real world: motorways, exhaust fumes, suburbia.

To be mildly pretentious for a second, there’s something Ballardian about the way he maps out an alternate, sci-fi London, at once both alien and familiar. But there’s romance in there too. Who else could take the word “bungalows” and invest it with passion and longing, as he did in ‘The Wild Ones’?

I’ve always thought the definitive Suede song was ‘The Next Life’, with its plaintive dream of escaping to the coast and flogging ice creams, “’til the company's on its knees.”

That line echoes a whole tradition of English bathos, from Philip Larkin to Morrissey to Reggie Perrin. It’s our own version of Springsteen’s open-road – the promise of cutting loose and leaving town. Except instead of “pulling outta here to win”, for us Brits it’s trudging along a grotty seafront, and gazing gloomily at the waves.

Obviously it’s easy now to mock Brett’s overcooked imagery, and the attention-seeking personality that led him to make statements like, “America is a thing to be broken, like an insolent child.”

But what wouldn’t you give right now for a band half as ambitious, and brave, and ludicrous? ‘Dog Man Star’ is one of the great rock follies of the era. Who today would dare write a song as grandiloquent and demented as ‘Daddy’s Speeding’?

I’m talking about the first two albums here. After Bernard Butler left they started trying too hard to write hits, as opposed to languishing in their own bizarre fictive world. It made them (briefly) more commercially successful, but less interesting.

And then… well, let’s be honest: after ‘Coming Up’ they just went a bit crap. But, oh, for those two years between 1992 and 1994, they were astonishing, and we shouldn’t forget.

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pitchfork 8.7

When Britpop first began to cohere as a concept and a potential mission statement, no band defined its vague, abstract ideas better than Suede. By the time Britpop became an actual going concern, Suede were simply grandfathered in; and when the whole thing spittered to its post-Oasis peak, Suede were considered washed up. But in 1993, they were the creators of the fastest-selling debut LP in UK history and had been anointed as saviors of British indie before their debut single, "The Drowners", even hit the shops. This made them a natural for the British press to create ideas around, and so when Select argued for a return to wit, artifice, glamor, and British art school traditions, Suede were easy avatars for those hopes.

Wit, artifice, and glamor may have been foreign to bands like Oasis or Cast or Ocean Colour Scene, but for many in 1993 they were welcome respites from a hangover of faceless, egoless electronic producers and gruff, dour American arena rock. On the relative margins of UK music, Tricky and PJ Harvey and the Tindersticks lurked-- and the Aueturs and Saint Etienne were also considered prototypical British hopes-- but Suede could articulate the desires of the outsider while broadcasting over Radio 1. Like Pulp, although perhaps neither band would be into the comparison, Suede were a more acceptable and easy to grasp Big New Thing. And, also like Pulp, they were comfortable creating complex pop songs about human relationships-- fluid with notions of sexuality and openly pursuant of lust and animal drives in an demure indie world that favors flowers and letters. Try to imagine, for example, Jarvis Cocker or Brett Anderson wooing someone by making them a mixtape?

Unusually, however, they were introspective about the whole thing too. While American glam revivalists like the Dandy Warhols wallowed in a cliché of leather jackets and rock'n'roll decadence, Suede inhabited those worlds at night and seemed to be able make some sense of the consequences and their motivations in the light of day. They did epic and visceral but they also did delicate and tortured. These twin poles-- crunchy glam rock and fragile balladeering-- found them at their best. They slipped when they lived between those worlds, aiming for the midtempo and MOR. As a result, there's a lot to admire about Suede, and a lot to ridicule, and they typically go hand in hand. In the end, Suede had no tribal allegiances, and few nationalistic desires; they were essentially fueled by youth, low-rent glamor, available drugs, cheap thrills, and the hangover and harm one gets from their pursuit. If they romanticized anything, it was being young and bored and free. Ordinariness was the enemy.

The group was undoubtedly at its best during its first few years, when guitarist Bernard Butler was still acting as ambitious musical foil to singer Brett Anderson's anguished, romantic lyricist, and this is reflected on the new 2xCD collection The Best of Suede. The first disc of the set is essentially a replay of their singles collection, dropping a few late inessentials; the second is a very well-chosen selection of album tracks and B-sides from throughout their career, but mostly from the era surrounding the band's 1993 self-titled debut and 1994's Dog Man Star, which was finished without Butler after a walkout over creative differences.

On the whole then, this provides a pretty complete, accurate picture of who Suede were, something that would have been incomplete without that second disc. The group's singles tend to fall into the glam-rock half of their work; it's disc two that elevates this set into something special, and into all the Suede that most people will ever need. In hindsight, it's striking how little the band fit into the landscape that coalesced around it. The band's first five singles-- "The Drowners", "Metal Mickey", "Animal Nitrate", "So Young", and "Stay Together"-- and their B-sides (five of which are here) foisted a charismatic, direct group onto the UK's shoegaze- and Madchester-soaked indie scene of the years prior.

In the end, Britpop soon became about a desperate need to fit in; Suede made great pains, for a time, to stand out. The protracted Dog Man Star sessions left the band in a few pieces, but the sheer scale and willingness to work without a net was at odds with most of their peers. The resulting record is full of pomp or pomposity depending on whom you ask, and there are no apologies for it here: The band wisely include the full, widescreen 20-minute run of "The 2 of Us", "The Asphalt World", and "Still Life" on this compilation.

After the departure of Butler, Suede again kicked against fashion: Unlike their pioneering peers, however-- Blur looked west for their self-titled 1997 album; Pulp made a hangover record-- they eased into the second phase of their career by retreating to their past. When guitarist Bernard Butler split to put together one great single with David McAlmont, and little else, Suede hired Richard Oakes, a 17-year-old Bulter acolyte located through their fanclub. Oakes did his best Butler-circa-Suede impersonation on their comeback LP Coming Up, and Anderson shifted into self-parody on a few of his lyrics. The band got by on hooks and gumption, and oddly became a bigger success than ever, enjoying five Top 10 singles in the UK and taking off throughout the rest of Europe.

Retracing their steps was naturally a sloppy affair creatively, however, with second-hand retreads and just plain gaffes. Another weak album later, and a comeback that few remember, filled out the rest of the group's career, and although the cherry-picked songs from those sessions sound better here in retrospect, nobody was going to break sales records or receive early hype based on the strength of something like "Everything Will Flow". These few songs are here to make up the numbers and provide a complete picture. And this is a complete picture: This is one of the most warts-and-all bands of our time-- their risk/reward divide was off the charts. In today's more timid climate, it would be almost unthinkable.

— Scott Plagenhoef, November 11, 2010