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Alternative & Indie - Released September 30, 2016 | Edsel

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Alternative & Indie - Released March 30, 2018 | Edsel

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Alternative & Indie - Released September 21, 2018 | WM UK

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On their dark album Nights Thoughts that appeared in 2016, Suede released twelve tracks carved from a Bowie-esque marble. It was grandiloquent and impeccable, although a little bit past it at times, as suggested by the opening track “When We Were Young”. Following their reformation in 2010, we find Blue Hour, a gloomier part three of the triptych – preceded by Bloodsports (2013) and Night Thoughts (2016). Brett Anderson, the singer of the group, remarked “I think Suede should be unpleasant, that’s the point of a band like Suede.” The group fully inhabits “Suedeworld”, a universe “set in a rural landscape, on the hard shoulder of the motorway, among the B-roads and among the rubbish that’s been fly-tipped. It’s set by a chain link fence with a dead badger lying rotting in the ground.” Anderson aims to push back the borders of Suede, a rare survivor of the still appetizing Brit Pop. This is how he renews himself and finds “new ways to be Suede”. From As One to Flytipping, the London band grab their strings, guitars and synths to celebrate a mass that is sometimes mournful (The Invisibles), sometimes dirty (Beyond The Outskirt). It’s both poignant and caricatured. Though perhaps troubling at first glance, Blue Hour is an endeavor to be explored further. © Charlotte Saintoin/Qobuz
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Alternative & Indie - Released May 30, 2011 | Edsel

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Alternative & Indie - Released September 4, 2015 | Edsel

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Rock - Released January 22, 2016 | WM UK

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Alternative & Indie - Released June 6, 2011 | Edsel

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Alternative & Indie - Released June 6, 2011 | Edsel

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Alternative & Indie - Released June 13, 2011 | Edsel

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Pop - Released March 18, 2013 | Suede Ltd

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Alternative & Indie - Released October 21, 2013 | Edsel

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Alternative & Indie - Released June 20, 2011 | Edsel

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Alternative & Indie - Released May 30, 2011 | Edsel

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Alternative & Indie - Released June 13, 2011 | Edsel

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Rock - Released January 22, 2016 | WM UK

Night Thoughts is a quintessentially Suede title: specific yet vague, a notion that seems either romantic or sad depending on perspective. Twenty years, a decade of which was spent in a split, certainly has shifted Suede's perspective, particularly that of leader Brett Anderson. In his younger years, Anderson couldn't resist the tragic but as he settles into middle age, his work bears an unmistakable undercurrent of gratitude: no longer racing against a nuclear sunset, he's meditating upon the elongated stillness of night. It's a shift of attitude, a maturation mirrored by Suede consolidating their strengths. Leaving behind frivolous trash -- it is, after all, a sound that suits the young -- Suede embrace their inherent glamorous grandeur, playing miniatures as if they were epics while reining in excess. In a sense, Night Thoughts functions as the Dog Man Star to Bloodsports, an album that dwarfs its predecessor in both sound and sensibility. If Dog Man Star threatened to topple upon its own ambition -- part of its charm is how it meandered into endless darkness -- that makes the precision of Night Thoughts all the more impressive; it is the work of a band whose members know precisely how to execute their ideas. Here, the longest epic crests just over six minutes ("I Don't Know How to Reach You"), and the 12 songs seem interlocked, if not precisely conceptually then certainly thematically, with each element elegantly playing off the last. Sometimes, there are echoes of their past but this is knowing; "Like Kids" cascades like an inverted "New Generation," pulsating with the same passion but with an eye toward the past, not future. Despite this glance over the shoulder, there's a sense that Suede are happy not only to be through all the turmoil but to bear the scars of well-fought battles. With that past behind them, Suede can still dwell on big issues of love and mortality, but now that the past is in perspective, it all means a little bit more and what lies ahead is a little more precious, and that wide view makes Night Thoughts all the more moving. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 22, 2016 | WM UK

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Night Thoughts is a quintessentially Suede title: specific yet vague, a notion that seems either romantic or sad depending on perspective. Twenty years, a decade of which was spent in a split, certainly has shifted Suede's perspective, particularly that of leader Brett Anderson. In his younger years, Anderson couldn't resist the tragic but as he settles into middle age, his work bears an unmistakable undercurrent of gratitude: no longer racing against a nuclear sunset, he's meditating upon the elongated stillness of night. It's a shift of attitude, a maturation mirrored by Suede consolidating their strengths. Leaving behind frivolous trash -- it is, after all, a sound that suits the young -- Suede embrace their inherent glamorous grandeur, playing miniatures as if they were epics while reining in excess. In a sense, Night Thoughts functions as the Dog Man Star to Bloodsports, an album that dwarfs its predecessor in both sound and sensibility. If Dog Man Star threatened to topple upon its own ambition -- part of its charm is how it meandered into endless darkness -- that makes the precision of Night Thoughts all the more impressive; it is the work of a band whose members know precisely how to execute their ideas. Here, the longest epic crests just over six minutes ("I Don't Know How to Reach You"), and the 12 songs seem interlocked, if not precisely conceptually then certainly thematically, with each element elegantly playing off the last. Sometimes, there are echoes of their past but this is knowing; "Like Kids" cascades like an inverted "New Generation," pulsating with the same passion but with an eye toward the past, not future. Despite this glance over the shoulder, there's a sense that Suede are happy not only to be through all the turmoil but to bear the scars of well-fought battles. With that past behind them, Suede can still dwell on big issues of love and mortality, but now that the past is in perspective, it all means a little bit more and what lies ahead is a little more precious, and that wide view makes Night Thoughts all the more moving. © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released May 19, 2014 | Edsel

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Alternative & Indie - Released June 20, 2011 | Edsel

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Alternative & Indie - Released May 12, 2014 | Edsel

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Alternative & Indie - Released September 21, 2018 | WM UK

Having established that their 21st century reunion was not a passing thing, Suede decided to stretch themselves with The Blue Hour, the third record they've made since reuniting in 2013. Unlike that year's Bloodsports or its 2016 sequel Night Thoughts, The Blue Hour isn't produced by Ed Buller, who helmed their three big records of the 1990s (Suede, Dog Man Star, Coming Up), it's the work of Alan Moulder, the veteran producer whose fingerprints were all over alternative rock of the '90s that had little to do with Brit-pop. Truth be told, Suede always stood slightly apart from the Brit-pop pack, sounding a little too louche and glamorous to be part of it, but this decadent romanticism also serves them well in middle age, as it offers avenues for exploration and reflection -- avenues that the band seize here. The Blue Hour isn't as streamlined and assured as Night Thoughts, which wound up as an elegant refinement of the ideas offered on Dog Man Star, yet that's its charm. Suede decide to ratchet up the melodrama on The Blue Hour and seize upon any opportunity to take a detour, dressing the album with layers of strings, choirs, electronic voice, and poetic digressions. That some of these accouterments wind up detracting from the stylish foreboding that's the record's primary color seems to be the point: Suede realize they've mastered such sustained moodiness, so they're taking opportunities to break the spell, or perhaps stir up dreams or nightmares. If the results are occasionally patchwork, that only adds to the album's appeal and it also suits Suede, who always found majesty within secondhand threads and hand-me-downs. Twenty-five years after their debut, they still retain that power, while finding ways to surprise within their firmly defined style. © Stephen Thomas Erlewine /TiVo