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Track List
01) So Young
02) Animal Nitrate
03) She's Not Dead
04) Moving
05) Pantomime Horse
06) The Drowners
07) Sleeping Pills
08) Breakdown
09) Metal Mickey
10) Animal Lover
11) The Next Life
12) He's Dead (Rocking Horse demo)
13) Where the Pigs Don't Fly
01) So Young
02) Animal Nitrate
03) She's Not Dead
04) Moving
05) Pantomime Horse
06) The Drowners
07) Sleeping Pills
08) Breakdown
09) Metal Mickey
10) Animal Lover
11) The Next Life
12) He's Dead (Rocking Horse demo)
13) Where the Pigs Don't Fly
3:38
3:27
4:33
2:50
5:49
4:10
3:50
6:02
3:27
4:17
3:32
4:11
5:36
Data Complete 80%
Total Rating
Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1993
Alternative Rock
Dreamy
Britpop
---
Medium
Album
340,000 copies
Album Description
Available in:
Sorti en mars 1993 sur le label Nude Records, Suede est l'album fondateur du groupe de rock alternatif britannique éponyme.
Véritable catalyseur de la britpop, ce premier opus est entré dans l'histoire en devenant, à sa sortie, l'album le plus rapidement vendu au Royaume-Uni, avant de décrocher le Mercury Music Prize.
Comparé à l'esthétique des Smiths ou aux débuts de David Bowie, l'album a réintroduit le glamour, l'androgynie et une théâtralité romantique dans le rock britannique des années 90, portés par la plume de Brett Anderson et le jeu de guitare tranchant de Bernard Butler.
L'engouement autour du groupe fut sans précédent ; avant même la sortie de leur premier single, la presse musicale britannique, emmenée par Melody Maker et Q, les qualifiait déjà de « meilleur nouveau groupe de Grande-Bretagne ».
Comme l'indiquait The Independent en mars 1993, le groupe bénéficiait d'un battage médiatique inégalé depuis les Smiths ou les Sex Pistols.
Enregistré au studio Master Rock pour un coût de 105 000 livres, le disque a également été le théâtre de tensions créatives entre le chanteur Brett Anderson et le guitariste Bernard Butler, exacerbées par les méthodes de travail du producteur Ed Buller, qui privilégiait une étroite collaboration avec Butler.
Ce premier disque à l'énergie nerveuse et obsessionnelle reste un moment charnière du rock alternatif, marquant le début d'une dynamique créative intense qui allait définir les premiers succès du groupe.
User Album Review
Feted as the ‘best new band in Britain’ before they’d even released a single, Suede must surely be the one band of the Britpop pack who had to endure the most fallout from press. Yet, they survived. A large amount of this was because their debut album actually did live up to the noise.
Always in with the right crowd, Brett Anderson and Bernard Butler’s band had, by the time this had been released, put up with their rhythm guitarist, Justine Frischmann, running off with a rival’s lead singer, an inability to find a drummer and a whole shed load of comparisons to other acts. To be fair Suede does carry its influences on its sleeve, but this was 1993 and post-modernism was the flavour du jour anyway. Frischmann’s next band, Elastica, certainly aped both the Stranglers and Wire, and Oasis’ slavish devotion to the Pistols and Beatles didn’t stop them coining it. Suede’s main sources were Bowie (in Anderson’s wonderfully fey delivery) and the Smiths. Ironically, Mike Joyce of the Smiths was a member for a short spell, but their bleak chronicles of urban dysfunction, modern love and sexual confusion were never a million miles away from Morrissey’s home ground.
Having said that, the band had enough chutzpah and originality to weather the comparisons with ease. Bernard Butler’s awesome technique was the ace in the pack. Propelling three-minute bursts of pop perfection like “Metal Mickey” and “The Drowners” into the singles charts, the bands’ sham-glam reeked of a new kind of decadence, laced with black humour. The key text here is “Animal Nitrate”. Despite its punning title it’s a thrill-seeking slice of cynicism that perfectly summed up what it was like to be young and chemically imbalanced in the nation’s capital at the time. This was a foreshadow of Blair’s Britain. The way it sold (the fastest selling album of all time and straight in at number one) showed that the public not only believed the hype; they wanted it. All wrapped in androgyny and attitude, Suede delivered everything that we’d hoped for and more. Their fortunes were never to be as good again.
External Album Reviews
None...
User Comments
Available in:
Sorti en mars 1993 sur le label Nude Records, Suede est l'album fondateur du groupe de rock alternatif britannique éponyme.
Véritable catalyseur de la britpop, ce premier opus est entré dans l'histoire en devenant, à sa sortie, l'album le plus rapidement vendu au Royaume-Uni, avant de décrocher le Mercury Music Prize.
Comparé à l'esthétique des Smiths ou aux débuts de David Bowie, l'album a réintroduit le glamour, l'androgynie et une théâtralité romantique dans le rock britannique des années 90, portés par la plume de Brett Anderson et le jeu de guitare tranchant de Bernard Butler.
L'engouement autour du groupe fut sans précédent ; avant même la sortie de leur premier single, la presse musicale britannique, emmenée par Melody Maker et Q, les qualifiait déjà de « meilleur nouveau groupe de Grande-Bretagne ».
Comme l'indiquait The Independent en mars 1993, le groupe bénéficiait d'un battage médiatique inégalé depuis les Smiths ou les Sex Pistols.
Enregistré au studio Master Rock pour un coût de 105 000 livres, le disque a également été le théâtre de tensions créatives entre le chanteur Brett Anderson et le guitariste Bernard Butler, exacerbées par les méthodes de travail du producteur Ed Buller, qui privilégiait une étroite collaboration avec Butler.
Ce premier disque à l'énergie nerveuse et obsessionnelle reste un moment charnière du rock alternatif, marquant le début d'une dynamique créative intense qui allait définir les premiers succès du groupe.
User Album Review
Feted as the ‘best new band in Britain’ before they’d even released a single, Suede must surely be the one band of the Britpop pack who had to endure the most fallout from press. Yet, they survived. A large amount of this was because their debut album actually did live up to the noise.
Always in with the right crowd, Brett Anderson and Bernard Butler’s band had, by the time this had been released, put up with their rhythm guitarist, Justine Frischmann, running off with a rival’s lead singer, an inability to find a drummer and a whole shed load of comparisons to other acts. To be fair Suede does carry its influences on its sleeve, but this was 1993 and post-modernism was the flavour du jour anyway. Frischmann’s next band, Elastica, certainly aped both the Stranglers and Wire, and Oasis’ slavish devotion to the Pistols and Beatles didn’t stop them coining it. Suede’s main sources were Bowie (in Anderson’s wonderfully fey delivery) and the Smiths. Ironically, Mike Joyce of the Smiths was a member for a short spell, but their bleak chronicles of urban dysfunction, modern love and sexual confusion were never a million miles away from Morrissey’s home ground.
Having said that, the band had enough chutzpah and originality to weather the comparisons with ease. Bernard Butler’s awesome technique was the ace in the pack. Propelling three-minute bursts of pop perfection like “Metal Mickey” and “The Drowners” into the singles charts, the bands’ sham-glam reeked of a new kind of decadence, laced with black humour. The key text here is “Animal Nitrate”. Despite its punning title it’s a thrill-seeking slice of cynicism that perfectly summed up what it was like to be young and chemically imbalanced in the nation’s capital at the time. This was a foreshadow of Blair’s Britain. The way it sold (the fastest selling album of all time and straight in at number one) showed that the public not only believed the hype; they wanted it. All wrapped in androgyny and attitude, Suede delivered everything that we’d hoped for and more. Their fortunes were never to be as good again.
External Album Reviews
None...
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