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Track List
01) Introducing the Band
02) We Are the Pigs
03) Heroine
04) The Wild Ones 
05) Daddy's Speeding
06) The Power
07) New Generation
08) This Hollywood Life
09) The 2 of Us
10) Black or Blue
11) The Asphalt World
12) Still Life
13) Modern Boys
01) Introducing the Band
02) We Are the Pigs
03) Heroine
04) The Wild Ones
05) Daddy's Speeding
06) The Power
07) New Generation
08) This Hollywood Life
09) The 2 of Us
10) Black or Blue
11) The Asphalt World
12) Still Life
13) Modern Boys
2:38
4:19
3:22
4:50
5:22
4:31
4:37
3:50
5:45
3:48
9:25
5:23
4:49
Data Complete 80%
Total Rating
Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1994
Alternative Rock
Dreamy
Britpop
---
Medium
Album
0 copies
Album Description
Available in:
Dog Man Star es el segundo álbum de la banda, publicado el 10 de octubre de 1994 por Nude Records.
Producido nuevamente por Ed Buller, se grabó en los Master Rock Studios de Londres en medio de un clima enrarecido: Bernard Butler estaba en pleno choque creativo y personal con Brett Anderson, y la relación terminó por estallar antes de que el álbum se completase. Butler abandonó la banda, dejando tras de sí un disco que parecía escrito sobre su propia despedida.
El sonido es majestuoso, oscuro, lleno de atmósferas orquestales y guitarras que rozan lo sinfónico. Anderson amplifica su teatralidad con letras cargadas de imágenes decadentes, sexo triste y visiones casi apocalípticas. En contraste con la inmediatez pop de su debut, es un viaje nocturno, introspectivo y ambicioso, casi un manifiesto contra el britpop festivo que estaba a punto de estallar con Oasis y Blur.
La recepción inicial fue confusa. Alcanzó el número 3 en las listas británicas, pero muchos críticos lo encontraron pretencioso y demasiado oscuro para el clima del momento. Con el tiempo, sin embargo, ha sido reivindicado como el gran clásico de Suede, un disco que se adelantó a su tiempo y que ha influido en generaciones de bandas que buscan unir lo épico con lo íntimo.
Dog Man Star fue un punto de quiebre. Perdieron a su guitarrista estrella y se encontraron frente a un futuro incierto, pero también consolidaron su reputación como banda ambiciosa, dispuesta a arriesgar todo por el arte. En retrospectiva, es su disco más influyente, un trabajo que va más allá del britpop y que se ha convertido en un monumento de la música británica de los noventa.
User Album Review
After the party ”“ the hangover: One year on from the louche-but-rocking debut, Suede had begun to irrevocably fracture at their very core. Luckily, out of such travails are great works of art born.
By this point the chemistry (in all senses) was becoming a little strained. Retreating into a drug-assisted solitude, Brett Anderson’s lyrics were less concerned with the politics of modern love and more with the effects of the morning after. Solitude, paranoia and self-loathing were the themes here. When he sings ‘If you stay we’ll be the wild ones”¦’ it’s with a quiet desperation that’s clinging to a lifestyle that’s gone horribly wrong.
The downbeat mood pervades everything here. Even on peppier rockers like “The Hollywood Life” or “New Generation” the guitars of Bernard Butler here sound more spiteful, suffused with a vicious metallic edge. It was here that they formerly parted from the Britpop pack as well (‘I don’t care for the UK tonight’ sings Brett on “Black And Blue”).
At the heart of this album is the real-life drama of Anderson’s and Butler’s increasing alienation. Before the album had even been mixed the pair, once touted as a Lennon and McCartney for the post-E generation, had split. Butler subsequently told of how he turned up to the studio one day to find all his equipment outside the locked door.
Yet, while Dog Man Star stands as a testament to the destructive power of thrill-seeking love and ego-bloating drugs it remains a far deeper and sonically adventurous ride than its predecessor. There’s still a huge dollop of Scott Walker-meets-Bowie-in-the-streets-of-Soho-at-5-in-the-morning archness that can grate. And Anderson’s melodrama can be slightly over-egged on tracks like “The 2 Of Us”, yet with its reverb-drenched lushness and fabulously melancholy audio verite ambience (virtually every track is prefaced by or marbled with some low-key moodiness that recalls Talk Talk’s golden period) it’s an album that continues to fascinate and reward: It’s possibly their least dated work.
While the band struggled heroically (and succeeded) to consolidate their success after Butler’s departure the legend of the band’s lost potential really stems from Dog Man Star. Never had misery sounded so alluring, reaching out to all the lonely urbanites that ever woke up alone. For this alone it remains timeless.
External Album Reviews
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User Comments
Available in:
Dog Man Star es el segundo álbum de la banda, publicado el 10 de octubre de 1994 por Nude Records.
Producido nuevamente por Ed Buller, se grabó en los Master Rock Studios de Londres en medio de un clima enrarecido: Bernard Butler estaba en pleno choque creativo y personal con Brett Anderson, y la relación terminó por estallar antes de que el álbum se completase. Butler abandonó la banda, dejando tras de sí un disco que parecía escrito sobre su propia despedida.
El sonido es majestuoso, oscuro, lleno de atmósferas orquestales y guitarras que rozan lo sinfónico. Anderson amplifica su teatralidad con letras cargadas de imágenes decadentes, sexo triste y visiones casi apocalípticas. En contraste con la inmediatez pop de su debut, es un viaje nocturno, introspectivo y ambicioso, casi un manifiesto contra el britpop festivo que estaba a punto de estallar con Oasis y Blur.
La recepción inicial fue confusa. Alcanzó el número 3 en las listas británicas, pero muchos críticos lo encontraron pretencioso y demasiado oscuro para el clima del momento. Con el tiempo, sin embargo, ha sido reivindicado como el gran clásico de Suede, un disco que se adelantó a su tiempo y que ha influido en generaciones de bandas que buscan unir lo épico con lo íntimo.
Dog Man Star fue un punto de quiebre. Perdieron a su guitarrista estrella y se encontraron frente a un futuro incierto, pero también consolidaron su reputación como banda ambiciosa, dispuesta a arriesgar todo por el arte. En retrospectiva, es su disco más influyente, un trabajo que va más allá del britpop y que se ha convertido en un monumento de la música británica de los noventa.
User Album Review
After the party ”“ the hangover: One year on from the louche-but-rocking debut, Suede had begun to irrevocably fracture at their very core. Luckily, out of such travails are great works of art born.
By this point the chemistry (in all senses) was becoming a little strained. Retreating into a drug-assisted solitude, Brett Anderson’s lyrics were less concerned with the politics of modern love and more with the effects of the morning after. Solitude, paranoia and self-loathing were the themes here. When he sings ‘If you stay we’ll be the wild ones”¦’ it’s with a quiet desperation that’s clinging to a lifestyle that’s gone horribly wrong.
The downbeat mood pervades everything here. Even on peppier rockers like “The Hollywood Life” or “New Generation” the guitars of Bernard Butler here sound more spiteful, suffused with a vicious metallic edge. It was here that they formerly parted from the Britpop pack as well (‘I don’t care for the UK tonight’ sings Brett on “Black And Blue”).
At the heart of this album is the real-life drama of Anderson’s and Butler’s increasing alienation. Before the album had even been mixed the pair, once touted as a Lennon and McCartney for the post-E generation, had split. Butler subsequently told of how he turned up to the studio one day to find all his equipment outside the locked door.
Yet, while Dog Man Star stands as a testament to the destructive power of thrill-seeking love and ego-bloating drugs it remains a far deeper and sonically adventurous ride than its predecessor. There’s still a huge dollop of Scott Walker-meets-Bowie-in-the-streets-of-Soho-at-5-in-the-morning archness that can grate. And Anderson’s melodrama can be slightly over-egged on tracks like “The 2 Of Us”, yet with its reverb-drenched lushness and fabulously melancholy audio verite ambience (virtually every track is prefaced by or marbled with some low-key moodiness that recalls Talk Talk’s golden period) it’s an album that continues to fascinate and reward: It’s possibly their least dated work.
While the band struggled heroically (and succeeded) to consolidate their success after Butler’s departure the legend of the band’s lost potential really stems from Dog Man Star. Never had misery sounded so alluring, reaching out to all the lonely urbanites that ever woke up alone. For this alone it remains timeless.
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