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Dog Man Star (1994)

We were competing against the great records of the past,” reflected Brett Anderson in 2011; “That’s what we had to prove with him. I tried to write without boundaries.” It’s an interesting theory, given that their self-titled debut was the most exciting British rock album since The Queen is Dead, but the perfectionist Suede teamed up to write their finest work. and the one that subsequently destroyed the relationship. among the main writers of the band!

Suede started Britpop and later hated the genre, no less than Suede guitarist and songwriter Bernard Butler. Moving away from what the band considered a “horribly twisted musical Carry On movie”, songwriters Butler and Anderson moved to darker albums by Lou Reed and Kate Bush, with Anderson taking solace from Scott Walker and Butler listening to The Righteous Brothers. Drugs no doubt influenced Anderson’s spherical reach as he consumed record after record, most prevalent psychedelia in the Monroe ode ‘Heroine’ and the pleasantly Floydian ‘The Asphalt World’. Anderson’s liberal drug use irritated Butler (Butler despised being treated as a subordinate because he refused to party), and the two recorded the album drifting further and further apart than Lennon/McCartney had ever drifted. Butler questioned Ed Buller’s production (Butler treated him much better). as the engineer in charge himself) and insisted that the others fire Buller and allow Butler to finish the album; Anderson, wary of Butler, refused. Butler left the band before the album was finished, many of his guitar parts were replaced by session musicians (Butler does not play on The Power, which is tellingly the album’s weakest track), and the band toured with seventeen-year-old Richard Oakes. guitarist (a position he holds to this day).

But in the trend of “The White Album” and “Kid A” heavy albums, “Dog” is much better for the dark politics behind the scenes, Suede playing the same songs at the same time, but not all the same music. . Butler (the finest indie guitarist of his generation, aside from Graham Coxon) infuses the album with his touch, bluesy fill and spiritual magic visible in his playing, the power of the seventies that blessed McAlmont Butler’s ‘Yes’ here at its inception. “New Genesis” was the closest thing to a seventies rocker, with charming drumming and aggressive guitar, a musical expression of social intent. Delicate piano playing compliments Anderson’s baritone excellence on ‘The 2 Of Us’, with vocals as delicate as his faux-Bowie brilliance on the band’s biggest single ‘Animal Niterate’. Where “Suede” (1993) was optimistic, “Dog” feels barren, helpless, hapless, like a Beckettian play; “lying in my bed/looking at my mistakes,” Anderson echoes in a pained voice, the album’s process at its most real.

Doom and gloom is thankfully absent from the album’s most obviously commercial track, “The Wild Ones” (still Anderson’s favorite Suede song). Shades of Phil Spector surround his production, Anderson’s light voice demanding and commanding twenty years after his release. “We Are The Pigs” spiraled into Roger McGuinn’s buzz, but exploded into an angrier song than since John Lydon called himself the Antichrist (Simon Gilbert’s finest hour as a drummer, crisp but loud, reminiscent of Smith’s Mike Joyce, who preceded Gilbert as Suede’s drummer). . “Black Or Blue” brought shades of esoteric Lennon to the fore, “This Hollywood Life” is more glitzy than glam, closer “Still Life” is a beautiful ode to The Beach Boys’ “Pet Sounds”.

Behemoth’s ‘This Asphalt World’ proved the band’s towering power, a colossally bold nine-minute track (cut from twenty minutes, to Butler’s utter disdain) but rewarding the listener with prog classics Kashmir and Shine On You Crazy Diamond. ‘ he once did. Irrelevant in writing, gorgeous in playing, the ‘Asphalt’ riff shimmered on the sidelines as Anderson delivers a career-best performance. The biggest Suede song never played on the radio, ‘Asphalt’ took the band’s core influences, shook them and beat them.

For all its grandiosity, audacity and genius, the album failed to generate the response generated by ‘Definitely Maybe’ and ‘Parklife’, a critical triumph rather than a commercial blockbuster. But ‘Berlin’, ‘Tusk’, ‘Stormcock’, ‘Queen II’ and ‘The Dreaming’ weren’t the crowning jewels of their writers, each a treasure for passionate listeners and each a cult following of eager, avoidant followers . the mainstream. And in this family of unusual brilliance, the “Dog Man Star” sits very comfortably!

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