Dog Man Star

This is perhaps one of my greatest examples of an album revealing itself more and more to me on each revisit – so much so that I've recently purchased it. It was probably only in 2022 or so that I gave it my first ever listen. It wasn't love at first sight for me – initially I struggled with its sleazy, uneven production and its eschewing of shorter, more accessible song structures, but it always felt like there was something for me hidden beneath the surface challenge. I'd now go as far as to say that Suede might be my favourite band amongst those associated with the Britpop scene, and nowadays this is an album that flows by smoothly whilst offering an extraordinary amount of depth and emotional push and pull. The Bowie comparisons / influence here is more than palpable, and I think becoming more acquainted with his back catalogue only served to benefit this on subsequent listens. I would agree that, stylistically and thematically, they don't really fit the more optimistic template that I tend to associate with the Britpop movement, with Suede more so linked by time period and origin. I think its murkiness is precisely what endears it more to me. It's a grand, ambitious statement, and for me it absolutely has the minerals to back itself up.

Good, hazy rock with traces of Bowie and the Smiths. I really liked this one, it wasn't a 5 for me at first, but I'm pretty sure it will be once I have listened through a few times. I suppose this music is more influenced by the artists I have cited than it is an influence on other artists, but I think it's a strong inclusion on this list either way. I probably wouldn't have come across it were it not here! Favorite track(s): "The Wild Ones," "The Asphalt World"

4.75

It could be argued that it was simply too much; that they had listened too much to the hype being lavished upon them and went overboard with self importance and grandiosity. But that argument falls flat because ‘Dog Man Star’ succeeds precisely because of the ambition, the vastness and the unfettered belief in their abilities. With its lore of difficult gestation, that in the end broke the core songwriting partnership of Anderson and Butler, many lyrics across the album can be viewed as autobiographical, with almost every moment throughout proclaiming the record as “important”. With the seriousness of every aspect of the album, it’s no surprise that emotions and passions were running high in the studio. Luckily, we got the resulting album, but at the expense of Butler’s contribution to any further Suede. ‘Suede’ their debut divided itself fairly evenly between rockers and powerful ballads, but here they diversify much further. Opener “Introducing the Band” comes across musically more as a looping tempo exercise than a song but it’s an engaging prelude to “We Are the Pigs” which upgrades the band’s early singles with a new muscularity. All lacerating whammy riffs and pilfered Mancini horns. We do get rockers and ballads of course, but we also get “Daddy’s Speeding” a 5 minute phased and chugging drumless countdown to a car crash. Eventually, just in case the splendour wasn’t already obvious enough, the orchestra strikes up for the aching Walker Brother-esque “Black or Blue” and startlingly dynamic closer “Still Life”. But it’s “The Asphalt World” that best sums up the album or perhaps microcosms Suede as an entity. As someone who tends to rail against songs outstaying their welcome, I somehow feel comfortable settling into the nine plus minutes. Apparently this was the song that broke the camel’s back causing major disagreements around its structure and length. The version they settled upon however was clearly successful if I can still call myself a fan despite it occasionally drifting into serious Pink Floyd territory (2nd Floyd burn this week). So, it’s pretentious, long, ruminative, heavyweight and over-earnest and yet that is part of what makes it the outstanding achievement it remains. Final thought:Although released within months of both ‘Parklife’ and ‘Definitely Maybe’, the idea that ‘Dog Man Star’ should be considered part of the Britpop culture is plain malarkey.

Este album es una obra maestra, surgido del caos, una rara avis. Un sonido que te lleva magistralmente a muchos territorios distintos, del indie noventero al sonido crooner, o del brit pop al glam. Es la máxima expresión de una gran banda en su mejor momento y que no pudo repetirse.

Surprised how much I enjoyed revisiting this as I wasn't fully convinced at the time. But yeah, all us Britpop naysayers certainly loved our reverb.

- One of my faves since university. It's definitely part of me. - I love Brett Anderson's voice. One of my favourites of all time. He also has a ton of charisma, in general. - The lyrics are unexpected and interesting, as well. - I also love the atmospheric druggy glam vibe of it all. Love the symphonic elements, and I feel like the sound is full and takes up a lot of space while also still showing restraint allowing the melodies and Brett's voice to breathe and shine. On the other side, the ballads are really moody and emotional, which I love. - Great guitar work and baselines. - It's definitely not an optimistic album, but it still makes me happy. - Agree with the other review that recommends Stay Together & the B-sides album (Sci-Fi Lullabies), which is easily on par with their best albums.

Et av de beste britpop-albumene jeg kjenner til. Briljant. Artig at gutta i Suede holder det gående, for deres album fra i fjor var jaggu ikke så gærlig. Top 3: Heroine, We Are The Pigs, The Wild Ones

I hadn’t heard this in so long! Incredible album, love the strange mix of prog, psych, glam and britpop. The album sounds like the cover, in part due to gloomy production choices which work for the material of the songs. Personal highlights are hard to pick but I would name We Are the Pigs, The Wild Ones, The 2 of Us and The Asphalt World.

J’ai adoré ! Une superbe ambiance tout en étant un peu sombre, je vais sûrement le réécouter régulièrement

Amazing lyrics throughout. 'The Asphalt World' is epic and breathtaking. I'm feeling 5 dog-man-stars on this one.

good

Jättebra! Fantastiska gitarrmelodier och bra sång som genomgående imponerar genom hela albumet. Kul upptäckt!

Perfecto

Never heard of Suede. Started sounding like punk/post-punk from the 90s with raw voice. Thought it would go post-punk but turned into opera-like musical. Fantastic ride. One of the best discoveries on this list. Last two weeks had crap, this was the gem. Not radio-friendly, no standout hit track. Don't know if the album works as a whole, but the ride was incredible.

With ice in her blood and a dove in her head Well, how does she feel when she's in your bed? When you're there in her arms and there in her legs Well, I'll be in her head 'Cause that's where I go and that's what I do And that's how it feels when the sex turns cruel Yes, both of us need her, this is the asphalt world

This album was incredible. Wasn’t feeling the first 3 tracks but then it just picked up from there and was astonishing. Going back heroine and we are the pigs aren’t even that bad and the intro is ok. Overall just a phenomenal album with emotion all over the place. Fast and slow, rock and orchestration.

Really enjoyable listen. Enjoyed the kind of more nuanced version of Britpop and every song had its own distinct vibe within that.

I was nervous going in because the description pointed to reviews calling this album “pretentious,” but I don’t hear that at all. It is gorgeous, cinematic, accessible psychedelic rock music. Even the dissonant moments are euphonic, which is impressive.

Great wall of sound . brings back memories from other times .

I count myself lucky that I haven’t heard Suede’s first album before hearing this, since apparently it colored the critical reaction upon release. This is a collection of really great, thoughtful tunes, with some beautiful tender moments and melodies. Enjoyed everything here, and don’t care if it is “pompous” music.

7/10

might be straight blasphemy but this reminded me entirely of Bowie

Es muy dificil escoger entre los tres primeros discos de Suede, una banda capital. A mí este es el que más me gusta. Portada, temas, estilo... lo tiene todo, incluso su mejor canción: The wild ones. Una pena que acabase así la relación entre Butler y Anderson. Cuando todos dudábamos de que pudiese seguir siendo viable el grupo, se sacaron de la manga Coming Up con un adolescente Oakes y hasta hoy, que es en su segunda etapa están al nivel de la primera. de Butler, poco, muy poco. Algo supimos con People move on y el debut de Duffy. Muy recomendable escuchar también Sci-Fi Lullabies esa joya de caras B e inéditos. Desesperación, rabia, paranoia... no, Radiohead no inventaron nada nuevo. Pasaban de tener solo a Bowie como referencia a ampliar miras hacia otros ilustres como Jacques Brel, Piaff, Sinatra y sobre todo Scott Walker (basta escuchar The wild ones o Black or Blue). Como ellos mismos expusieron sus discos de cabecera en aquel momento eran el Closer (1980) de Joy Division, Hounds of Love (1985) de Kate Bush y Spirit of Eden (1988) de Talk Talk. Los de Bernard Butler, canciones como “You’ve Lost That Loving Feeling” (1964) de The Righteous Brothers y elepés como Torment and Toreros (1983) de Marc and the Mambas o The Queen is Dead (1986) de The Smiths. Todo eso y por supuesto Bowie, mucho Bowie, pero intradérmico. La triada inicial es de relumbrón: William Blake en “Introducing the Band”, George Orwell en “We Are The Pigs” y Lord Byron en “Heroine”. La cuarta es una joya para la eternidad: The wild ones. Otra de las mejores es The asphalt world. New world el single de adelanto, es un buen tema , muy Brit Rock pero lejos de las demás. Hollywood life, es mejor por ejemplo de principio a fin. 5/5

Wasn't into Suede before listening to this but I think I'll have to be now. This album is everything rock music should be: incredible guitar, beautiful vocals and even some enchanting orchestral pieces. I can't see how I give this any less than 5 stars. Near perfect album with no skips

This is my 2nd Suede album. The 1st one is better in my opinion. This is still solid. I think the back to back piano ballads were oddly sequenced in the track order. Maybe I just enjoyed the guitar driven songs more. Like their first one, it got better with multiple listens.

I like this more than I thought I would.

now we cheer and then wait for blur as the last britpop big four act to enter my listening. but anyway ITS SUEDE AND WE ARE FUCKING SAVED! i recently considered jarvis cocker to be the britpop hornyboy/campyboy and the only person who can outhorny/outcamp him is not anyone but suede's own mister brett lewis anderson. hes really refined his craft of sounding horny and campy within his first two albums and sadly, participants that are not willing to search for their following effort "Coming Up" will not be able to experience the moment in which he outcamped david bowie and russell mael and all the glam rock icons in the past, especially in the song "Trash". But as an enjoyer of "Coming Up", i will sadly announced that indeed, dog man star is their best moment. from Bernard Butler's guitar riffs to Brett's own lyrics, from the singalong of Heroine or The Wild Ones to the sprawling guitar of Apesalt World, from the soft and introspective ballad of The 2 of Us to the glamourous ochestrated moment of Still Life, most of the moments on this album is an absolute perfection of a work. Black and Blue and Daddys Speeding are the only falloff moment but generally works extremely well, offering us some space to catch a breath in between. theatre kid ass melodrama shite always hit so hard for me so 5/5.

This is an amazing album. I knew Suede for Comming Up, but this is more intense, and honestly more interesting.

Fantastic album, some of the best britpop I've ever heard. The second half is a bit slower than my tastes, but also think it is all at equal quality to the first half.

**In-Depth Review: Suede – *Dog Man Star* (1994)** --- ### 🎤 **Overview** *Dog Man Star* is Suede’s second album, released in October 1994. It arrived at the height of Britpop but stood apart from the scene’s more upbeat, working-class anthems. Instead, it offered a dark, ornate, and emotionally raw vision of glamour, decay, and urban alienation. Often hailed as Suede’s masterpiece, it’s a polarizing record—lavishly praised for its ambition and dismissed by some as overwrought or pretentious. --- ### 🖋️ **Lyrics** Brett Anderson’s lyrics are poetic, theatrical, and often steeped in metaphor. Themes of **drug use, fame, sex, identity, and emotional collapse** recur throughout the album. The imagery is vivid and sometimes surreal—**urban decay, Hollywood fantasies, and animalistic metaphors** dominate tracks like “We Are the Pigs,” “Heroine,” and “The Asphalt World.” - **“We Are the Pigs”** paints a dystopian vision of societal collapse. - **“Heroine”** is a ambiguous ode to addiction, both romantic and chemical. - **“The Wild Ones”** is a sweeping ballad of lost love and idealism. Anderson’s lexicon can feel overwrought to some critics, with repeated use of animals, drugs, and cinematic tropes. But when paired with the music, the lyrics often **elevate the emotional intensity**, creating a **cinematic, almost operatic** experience. --- ### 🎸 **Music** Musically, *Dog Man Star* is **lush, dramatic, and genre-defying**. Bernard Butler’s guitar work is central—**layered, expressive, and often soaring**, with a strong influence from **David Bowie, Scott Walker, and early glam rock**. The arrangements are **dense and orchestral**, with strings, brass, and keyboards adding to the grandeur. - **“Introducing the Band”** opens with a brooding electronic pulse and cryptic spoken-word vocals. - **“The Asphalt World”** is a 9-minute epic that shifts between sultry grooves and guitar solos. - **“Still Life”** ends the album with a **full orchestral crescendo**, referencing Ravel’s *Boléro*. The album’s **second half** is more introspective and experimental, with tracks like “The 2 of Us” and “Black or Blue” showcasing **moody minimalism and emotional vulnerability**. --- ### 🎛️ **Production** Produced by **Ed Buller**, the album’s production is **intentionally muddy and dense**, which some listeners find **off-putting or claustrophobic**. The mix often buries vocals under layers of guitar and reverb, giving it a **cinematic, dreamlike quality**. While this adds to the album’s **nocturnal atmosphere**, it can also obscure some of the **nuance in the performances**. Despite its **lo-fi aesthetic**, the production **serves the themes**—it feels like a **drugged-out haze**, a slow descent into emotional and psychological fragmentation. --- ### 🎭 **Themes** - **Glamour and Decay**: The album romanticizes the **seedy underbelly of fame and urban life**. - **Isolation and Alienation**: Many songs explore **emotional disconnection**, especially in relationships. - **Performance and Identity**: Anderson often sings from the perspective of **characters or personas**, blurring the line between reality and fiction. - **Duality**: There’s a constant tension between **beauty and ugliness, vulnerability and arrogance, sincerity and artifice**. --- ### 🌌 **Influence** Though not a massive commercial success at the time, *Dog Man Star* has become a **cult classic** and is now considered **one of the most influential British albums of the 1990s**. It paved the way for **more introspective and experimental Britpop** and influenced bands like **Radiohead, Placebo, and The Divine Comedy**. Its **melodramatic sensibility** and **orchestral ambition** can be heard in later art-rock and post-Britpop acts. --- ### ✅ **Pros** - **Ambitious and emotionally rich**—a bold artistic statement. - **Bernard Butler’s guitar work** is phenomenal and expressive. - **Lyrically evocative**, with strong cinematic and poetic imagery. - **Cohesive atmosphere**—the album feels like a complete, immersive world. - **Influential legacy**—a touchstone for art-rock and experimental pop. --- ### ❌ **Cons** - **Dense production** can feel **muddy or overwhelming**. - **Pretentious tone** may alienate listeners looking for straightforward rock. - **Overwrought lyrics**—some find Anderson’s writing **too theatrical or self-indulgent**. - **Lack of immediacy**—the album **takes time to reveal its strengths**. - **Inconsistent pacing**—the second half is slower and more abstract, which may lose casual listeners. --- ### 🏁 **Final Verdict** *Dog Man Star* is **Suede’s most ambitious and divisive album**. It’s not for everyone—it’s **melodramatic, murky, and unapologetically grandiose**. But for those willing to dive in, it offers **a rich, emotionally charged journey** through the shadows of fame, love, and identity. It’s **a flawed masterpiece**, but a **masterpiece nonetheless**. **Rating: 9/10**

"Dog Man Star" is the second studio album by English alternative rock band Suede. Art rock, glam rock, alternative rock and Britpop are the Wiki-listed genres. The album draws on a wider array of influences than their debut and diverted away from the "Britpop pack" of bands. It was the last Suede album to feature guitarist Bernard Butler who left during the recording due to growing tensions with lead singer Brett Anderson. The two other bandmembers included Simon Gilbert (drums) and Mat Osman (bass). Many reviews acclaimed as this as a masterpiece with a few US critics finding it pretentious. Commercially, the album reached #3 in the UK and #35 on the US Heatseekers Album Chart. A long silence leads to pounding drums and a reverbing guitar in the opener "Introducing the Band." Echoing lead vocals by Anderson with his own crisscross backing vocals as he introduces the band and foreshadows the album. The band gets it going in the first single "We Are the Pigs." Piercing guitar and a melodic rhythm guitar. Strong, dramatic lead vocals as Anderson sings about a violent revolution between the middle and upper class. A catchy song with dark overtones. Anderson deepens his vocals in the lovely "The Wild Ones." If you didn't know that Anderson was a Scott Walker fan, you definitely know now. And not the last song where he sounds a lot like Walker. More of a soulful guitar and strings are added. "New Generation" starts with a plodding bass and ringing guitar sounds. Wow, Deerhunter must have been listening. Another vocal change by Anderson who now sounds like David Bowie. A melodic hard rock melody and a horn section. Guitarist Butler said "The Asphalt Jungle" was inspired by Pink Floyd. The song starts slowly and builds. Butler's guitars are dreamy, psychedelic and layered. Anderson's vocals are emotional in a song inspired by finding out his girlfriend was having an affair with another girl. The album ends with the majestic "Still Life." A 40-piece orchestra highlights the song. The music and vocals on this album can be dramatic, dark, big and grandiose. Anderson shows a wide vocal range with a falsetto and bass and tenor vocals. Anderson said he wrote the lyrics while doing psychedelics which influenced his themes of drugs, the seedier side of life, violence, racial intolerance and infidelities. Butler recorded most of his guitar apart from the band which gives the songs a musically layered sound. That is added to with the production and inclusion of strings and horns. I think this works very nicely. I hear, at the times, David Bowie and Scott Walker in Andersons' vocals and even the Cult in the guitar. Overall, this is an outstanding album. I would rather have a band shooting for grandiose and big any day, especially when it works. A high recommendation.

This evokes a time and a place

Rock. Gave me a strong Bowie vibe, I really liked it.

great brit rock

Recuerdo haber escuchado “So Young” en la radio y recibirlo como aire fresco en el panorama musical de los 80. Sin embargo, perdí la pista se Suede a continuación y durante los 90 hasta volver a retomarlos con pasión en los 2000. Al reencontrarme con su discografía enseguida me quedé prendado por la oscuridad y el lirismo de “Dog Man Star”. Desde el minuto uno me enganché con “Heroine”, “We Are The Pigs”, “The Power” y, sobre todo, “The Wild Ones”. No tan comercial como su siguiente álbum pero un dignísimo seguidor de su primer disco homónimo. Un clásico.

Brilliant. Dark and decadent. Loads of great songs. Very Bowie. A British classic

Sehr gut

Such an incredible album. I'm a sucker for britpop bands oasis and blur but this takes britpop and turns it on its head. I could see how they could get lumped in with that genre but they truly are something else entirely. Favorite track is still life. So happy this was my introduction to the band.

Love me some Suede. Brett Anderson is one of my favourite singers. One of my easier 5 stars. Top Track - The Wild Ones

This is #day378 of my #1001albumsyoumusthearbeforeyoudie challenge, and… here's to my second and final Suede album, meaning I'm closing out another band on the list. Suede is one of my favorite bands. I enjoy listening to them with my wife. She's the one who reinvigorated my interest in them and in Brett Anderson. We've been together since just before The Blue Hour came out, so it's fun to track that time through music. Suede and The Manics (Resistance Is Futile dropped the same year) feel like personal bookmarks now. As for Dog Man Star... It's beautiful in its darkest way. Their defining record. Not at all what you'd expect after the debut, but that's precisely why it works. It's everything Britpop isn't. Among the absolute highlights in the form of "We Are the Pigs," "Heroine," "New Generation," or "The 2 Of Us," there's a clutch of deep cuts like, say, "Daddy's Speeding," and of course, the sheer gorgeousness that "The Asphalt World" is. This is a 5 out of 5. Looking forward to #day379, and also to Antidepressants, out in a little over two weeks. "Disintegrate" and particularly "Trance State" have been amazing.

This type of alt rock is so up my alley. The vocals were so good, instrumentals so good. This really doesn’t sound like the 90s it sounds a bit older which is interesting. I really loved this.

Grew on me

One of my favorite albums by one of my favorite bands. It's epic, biting, classic while also being a commentary of both the present and future. The guitar work is sublime, and while I understand not everyone may like Anderson's vocal style, I think it is beautifully haunting.

I like it more and more. However I still can’t say that I love it.

Blimey, how have I never listened to this before? I've always really liked Suede but this really took me by surprise. No skips album and a real vibe mix. Quite a long album mind! These moments are the real benefit to committing to this daily exercise. Big love to Richard Osmond's brother

Great discovery, I have heard about the band but did not listen much from them. Loved it.

I log this album, will be listening to it often, one of my favorites

Suede might be from London but let's not mention that in the artist title for an absolute powerhouse of an album.

The turmoil that was going permeates this album, but it still doesn’t stop the grandiose splendour and undeniable playing of Butler. An absolute masterpiece

I don't think I'm going out on a limb here when I say this album probably sounds exactly how they wanted it to sound. Clearly wearing their influences on their sleeves, while at the same time not being imitators. It might be perfect if this is what you're into. I don't really like the songs, but I do know a great album when I hear one!

Que albumazo loco. Es una onda art rock que me da unas leves vibes de shoegaze, por su producción tan masiva y llena, y me recuerda un poco a the smiths y the bends de radiohead. Me gusta muchísimo la primera mitad del disco porque tiene más este sonido que describí, mientras que la otra mitad tiene canciones más chill, a veces drumless y onda balada, que también son buenísimas pero personalmente prefiero la primera mitad. AMO We Are The Pigs y su mensaje como de tomar conciencia de ciertos efectos malos que tenemos en el mundo, hablando de ello como una protesta (y amo ese solo). Heroineee temón, habla sobre la adicción al porno en adolescentes y es super powerful. THE WILD ONESSS el mejor tema del album en mi opinion, el chorus es buenísimo, tiene un riffsito de guitarra bien pegadizo y la melodía es goated. La vibe es como de extrañar alguien a quien el cantante amó, como aferrandose al what could be si siguieran juntos, y escapar de las cosas mundanas de la realidad simbolizado por la frase "we'll be the wild ones running with the dogs today". En general todas las melodías de la voz del album me parecieron increíbles y las instrumentales ni hablar. Still Life es un temón de esos chill que hablaba, pero amo su instrumentación orquestral y la vibe de la letra, como yearning por alguien. En general las canciones evocan tristeza y soledad, en The 2 Of Us también por ejemplo. The Power temón, le da poder a las personas pobres o a la gente común en general. The Asphalt World, super interesante, es sobre una prostituta pero vista de una forma como poética y grandiosa (por eso asphalt world, tipo street). Dura 9 min y tiene un solo en el medio y una parte instrumental developing. Muy interesante. Amé este album la verdad, la vibe es inmaculada. Edit: bo This Holywood Life temón. Todo temones.

This was great! I did not expect to like it that much

Ripper. I like this one more than the debut. Gnarliest of the britpop fellas.

Can’t believe people called this pretentious, a great transition between 80s bands and 2000s bands

On the first 5 listens, this one is OK. On 10, it's even better and by now my ranking is a 4.5. Which puts me over to a 5.

Brilliant

4.5

Brilliant stuff

Every song reminds me of another song that seems to be inspired by the album Haven’t finished but planning to

Didn't know Suede but got totally swayed by this album! The tracks are strong and diverse, well-constructed, original, performed well and mixed tastefully. Sounds kind of like a lovechild of U2 and Radiohead and Bowie. Great stuff. 4.75

5/5 Neon-Tinged Heartbreak Aria This isn’t an album. It’s a soft crash landing on a bed of glittering debris. Every track sounds like someone sighing into a mirror before tearing off down a rainy street in slow motion.

Easily the best of the albums I've listened to as part of this challenge so far - made me feel disappointed that I hadn't listened to this band before. Songs like We Are The Pigs, Daddy's Speeding, and The Asphalt World were all standouts to me. Bust out a nice pair of headphones if at first it doesn't quite click with you!

Easy 9/10. Incredibly lush, layered production mixed with biting songwriting and a veritable cauldron of musical influences combine to create one of the best listening experiences so far. EDIT: I haven't been able to stop listening to this, 10/10 it is

FANTASTIC. I heard everything, I appreciated everything, and I love the layers put into the music. What a journey! Three listens really helped me enjoy this one. I did not notice any of the pretentiousness in the reviews. The producer deserves a medal.

Melodramatic pop hymns. Wonderful emotional.

Timeless art rock album filled with great songs full of clever pop hooks and Bernard Butler's guitar playing at it's best. Not a single weak link on this album. Bit pompous and over dramatic at times, but always catchy and groovy.

It’s a great album which is definitely their high point and one of the highs of britpop. I think of a time for me and us Brits. But I appreciate this more than I did at the time and definitely more in the context of this project and the competition.

Beautiful, inspiration for POND?

90s alt rock. We Are The Pigs is a good song. Heroine is good too. New Generation as well. The 2 of Us also. The Asphalt World is very good. There might have been a couple standard songs but this one gets the seldom 5.

I really enjoyed this.

4.5★. An improvement on their already fabulous self-titled debut... Just thoroughly and absolutely gorgeous and beautiful. 261 albums in and this is my second first-listen five-star album (after Stankonia). Love it love it love it.

Pleasantly surprised by this one. Will check out the rest of their stuff

Great 90's album that ends on a euphoric note in "Still Life". It started a bit weak, but every track was stronger than the last.

what a nice surprise, had I not looked into it I wouldve clocked this album as being a more modern release than something from 30 years ago. You can hear the Bowie influence through the vocals, it actually reminds me a little of Rush here and there. I think Heroine is my pick off this one. Also it has a somewhat uplifting vibe despite the nature of the alt rock genre. Great entry.

So this album was a total surprise. A nice mix of styles and sounds. Don’t let the man’s taint on the front cover dissuade you from checking it out. Loved the lead singers voice. Reminded me of older Geddy Lee

Stunning. A lot of Bowie, but also so much unique, spacey vibe. I love it. 4.5/5

Brilliant

This album is deep, dark, and fascinating. Suede’s magnum opus. I put it on the same bucket with Manic Street Preachers and Placebo. Love its textures, suffering… a perfect album.

I didn't expect to enjoy this as much as I did. Super dramatic and far more melancholic than I've heard from anything else in the genre. Also these lyrics are fantastic. 5/5

This is by far my favourite Suede album it's darker than everything that follows and better that the debut (only just). Highlights include We Are The Pigs, Introducing The Band, Still Life, Heroine and New Generation, but special mentions have got to go to the beautiful The Wild Ones and the sprawling epic that is The Asphalt World with the way it just builds and builds its stunning. Also if you listen to deluxe version you get the full version of Stay Together as a bonus track arguably in of the band's best songs.

love the grandiose instrumentals

I only heard of Suede after I started this project, and this is my first album of theirs to review. I know they’re Brit Pop, but that’s all I know about their sound. Generally speaking, I’ve really enjoyed the Brit Pop albums on this list so far, so I have pretty high hopes that I’m going to enjoy this album. My intuition was correct, and I really liked this album. The overall sound was incredibly dense and deep throughout the album, even on the slower songs. The cavernous sound reminded me a lot of Echo & The Bunnymen’s Ocean Rain. The arrangements on this album were great. I loved the guitar melodies, the horn playing, the string arrangements, and the piano melodies throughout the album. I really enjoyed how “Still Life” felt like a crescendo for the end of the album, and the orchestra playing was a perfect way to end this deep album. Lyrically, I enjoyed this album as well, especially “Heroine,” “This Hollywood Life,” and “Black or Blue.” I felt like the themes of drugs, strained relationships, and isolation all tied together brilliantly with the moody sound. Listening to this for the first time was great. I liked not knowing where the songs were going to go musically, like on “Daddy’s Speeding.” The song felt like it was building to a crescendo, but it never came, but I loved the way the song built up the anticipation any way. I really enjoyed this album. The musicianship was great, and I loved the unique, dense sound. The songwriting was great as well, which made this a well-rounded and great album to listen to.

I wasn't super excited to see another Suede album so soon after having a tepid response to their eponymous debut but this won me over with its strong start and even stronger finish. Well done.

I liked the previous Suede album… but do I need to hear another from them? Yes! This album is really impressive. Melodramatic in all my favorite ways, this album has terrific songcraft that defied my questioning mind. It seemed to just continually get better and better and leaves me no choice but to give it a 5. Fantastic! Lots of songs I liked at first listen - immediate stand-outs: We are the Pigs, The Wild Ones, The Power, New Generation, The Two Of Us, The Asphalt World, Still Life.

Another grower. I have other Suede albums but had never heard this one. You can definitely hear the influence of Bowie on this album. A cracker!

Great!

5/5

Very nice album! There are two tracks - The 2 of Us and The Asphalt World - that are the masterpieces! I never heard them before.

This album was a fun surprise! I'd never heard of it and was generally blown away. It was like 90s grunge mixed with the beatles mixed with prog. It wasn't perfect, but it was great! Best Songs: We Are the Pigs, Heroine, New Generation, The Asphalt World, Worst Songs: Daddy's Speeding

5/5. A pretty excellent, drug-infused britpop album that is not quite exactly that with new instrumentation and actually catchy songs lol. There wasn't a bad song on here and I'm hard pressed to believe this may be the best Britpop album I've listened to. It feels new and unique despite it's release date. Best Song: We Are The Pigs, The Power, This Hollywood Life, Still Life

Man I love these guys. They make music that just gets me the right way. I’m so glad that I was able to listen to their first two albums in order. This album has what I loved about the first: an interesting set of instrumentals which isn’t afraid to be twangy, sporadic, and kind of whimsical, along with a bunch of just fun songs. I’m this album they get more cinematic with some orchestral backings to the lyrics in the second half of the album. Don’t know who the lead singer is, but I love his vocal inflection. My standouts are most of the songs here because I can’t decide which to throw out: Heroine, The Wild Ones, The Power, New Generation, The 2 Of Us, The Asphalt World, Stay Together, and Whipsade.

beef wanted this to be a 4

9/10 it took me a while to get into the album and start appreciating its vibe, but when I did, dude, this album HITS banger after banger, crazy good production I really really love this

One of my favourite Britpop Albums!!

Proto the end of brit pop and Radioheads rise. Glammy

Starkes Album. Kannte die Band nicht, aber hat mich direkt abgeholt.

One of my favourite albums

Epic! This was a game changing album on the alternative rock scene when it came out. Still has quality, musically and lyrically

LOVE this album. I think this band is a new favorite over all. Big Smiths vibes with 70s psych guitar mixed in. Huge fan

This thing exceeded my expectations so god damn much. I was genuinely surprised how good this was. Amazing songwriting throughout, blunt and deep lyrics, the depressing sound, it all wraps itself in one for a sad masterpiece. Amazing!

Megamegamegamega bangers. Mega fan potential, too

Worth to keep on relistening... Will not get through just listening once

good

I wasn't overly familiar with Suede coming into this, but was very pleasantly surprised. I loved this album. Probably my fav album of the day thus far.

Love it!!

This album might be Suede’s best. It is a remarkably variable album that spans glam rock, art rock, post-punk, and Britpop. The album has a grandiose anthemic feel throughout and the production is stunning. The ambitiousness of the album pays off, and in it, the listener can hear the roots of some of the greatest albums that came a few years later from Radiohead and Spiritualized.

Whilst not delivering as many singles and big "moments" as the follow-up album, "Coming Up", this is a fantastic album. More experimental than you might expect from Suede if you're only familiar with their bigger singles, but it's just a great journey from start to finish.

Perfect album

Bought this when it was released on the strength of their debut album and I think I was a little bit let down by it, that debut is incredible, so incredible that it lived up to the hype foisted on the band by the British music press. It stands to reason that Dog Man Star might have a difficult time as a follow up, so pretentious, right? According to Rolling Stone, the most pretentious album ever released by a major label. I get it but you know what? Fuck that, over the years I've come to appreciate the brilliance of this album. Like I said I love the debut but this is the one I come back to most often.

Höpsis, eihän tää rokmusiikkia ole ollenkaan, vaan brittipoppia ripauksella glamia. Eka levy vielä parempi, mutta on tää niin upea, että itkettää. Iloa ei kieltämättä kauheasti tästä löydy, mutta kaikkia muita tunteita kyllä. Heroine on ehkä mun suosikkibiisi ikinä. Tai no yksi todella monesta.

Huhhuh, täähän on aivan tajuton. En muistanutkaan. Annoin näiden debyytille 2/5 ja aloin kyseenalaistamaan, että olikohan tämäkään sitten niin hyvä. Mutta mitä vielä. Ihanaa melankoliaa tuollaisella Bowie-energialla. Ja onnistuu vielä kantamaan noin pitkään, lähes tunnin. Nyt kyseenalaistan sen debyytin arvioni, täytyy kuunnella uusiksi :D

Soooo coool

Really good britpop, slower in the second half though. Lyrics make the songs feel like epics. BT - We Are The Pigs - Heroine - The Wild Ones - The Power - The Asphalt World

Following their debut, this album is full of Bowie-inspired vocals and riffs and lush ethereal upbeat melodies from the earlier shoegaze and Madchester movements. With their debut and next album Coming Up, I pick out my favorites and tune out the rest. But this has pulled in my attention in nearly every song. Blur's Parklife and Pulp's Different Class did the same thing, so I'm glad (most of) the Britpop movement has insane talent. Great introduction followed by the anthemic "We are the Pigs" setting the theme for the rest of the album. "Heroine" embodies the britpop spirit, with dirty resentful Beatlesesque harmonies and an eclectic guitar style reminding me of Pulp. Shows their artistic spirit, cramming a bunch of styles in a fast-paced 3.5 minute song. "The Wild Ones" is a really emotional pop track with a powerful closer. I'm usually not a fan of ballads, but "Daddy's Speeding" took me by a surprise, likely due to the constant key changes, strong bass, creepy ethereal effects, unsettling vocals, and a dramatic closer. It was a good follow up to the mood of "The Wild Ones." We shift back to a few upbeat pop tracks. "The Power" has a catchy chorus, strings, and drums that pack a punch. "New Generation" is just an all-around excellent britpop song, nothing really stuck out in particular. "This Hollywood Life" has a dirty guitar style and vocals that definitely look back to 70s glam rock like T Rex. We go back to two minimalist ballads which honestly is my least favorite part of the album, especially since "2 of Us" goes on for 6 minutes. But they're pretty, and I'm a fan of the lush strings in "Black or Blue." Nearing the end, we reach the most technical proggy song on the album: "The Asphalt World." I really like how it stops in the middle then gradually picks up to a glorious finish with a really sick guitar solo. "Still Life" ends with a whole orchestra in a satisfying closer full of life. Almost like a musical. Incredible production. The triumphant ending reminds me of Sgt Pepper. There are also two bonus tracks on Spotify. The first is the full version of the hit single "Stay Together" which does feel like it belongs more on their debut. It's good, catchy chorus, but I'm not sure it really warranted its length. The other is "Whipsnade" which is a really cool mellow fast song, also has a pretty chorus, and I'm a love the double tracked vocals, but it goes by a bit too quickly. Super groovy second half.

That was really cool. Varied and interesting throughout. I will definitely be listening to more Suede

I miei preferiti: We Are the Pigs e The Asphalt World

3.02 average??? (This album definitely doesn’t deserve this low)… To anyone who gave this below 3 stars 🖕 Sorry but honestly this album is perfect It’s a grower yeah but it’s certainly worth the time. Not a bad track on it and the b sides make it even better. Brett’s voice can be a make or break for some I get that but the instrumentation would’ve made up for that I would think. Also maybe if you don’t like any 80’s or 90’s rock then this might not be for you but I don’t get why anyone wouldn’t like those things. I didn’t see any ‘uuurgh britpop’ comments on this one which is good because while yeah technically britpop it’s not the same sorta thing as oasis, blur and pulp were doing at the time. If I was to name an underrated but still kinda popular band it would be suede it seems so many people have overlooked this masterpiece and the debut by extension. Best tracks: heroine, the 2 of us, the asphalt world Worst track: black or blue 5/5

Their greatest, no doubt.

New generation and we are the pigs. Great album through and through

lekker cinque stelle

Only available on Apple Music under the band name The London Suede.

Slow but pleasant

I liked this album. Very listenable with soft tender melodies with an edge to them. Some sound Bowie like. They keep it edgy with some of their longer pieces.

This is so close to a 5 for me. If it was a bit shorter, I'd have done it

I own this album, and have always been a fan of the band. While many consider this to be their better album, I still prefer the debut. That being said this has a collection of great songs. We are the Pigs, Heroine and The Wild Ones are an incredible run of three songs to start the album . The power and Daddy's speeding are good, but not quite at that same level. Then there is New Generation...as someone who loves a good pop song, New Generation is up there one of the finest for me. I cannot explain enough how much joy this song gives me. The two of us and Asphalt world are excellent. I am not sure I am a fan of the orchestral component of still life, but it is still a good song. The first half of this album is better, but there are great songs throughout. New Generation was always going to be my standout. 4.5 stars

Far from your typical Britpop album. Morrissey-esque lyrics over varied and orchestral instrumentation. Definitely not for everyone and in my opinion not as good as the best from the other big 3 britpop bands, but still a great album.

Favourite Songs: Heroine

I liked a lot about this album. Maybe on a revisit, it could go up.

Interesting collection of art pop. Quite refreshing. 4

This came out of the blue. Loved it.

moram priznati da mi se ovo dosta svidjelo. bilo bi još bolje da vokal nije tek malo bolji od prosječnog pijanog lika na karaokama. premda ima slabijih momenata, pjesma kao što su »the wild ones«, »the 2 of us« i »the asphalt world« jednostavno su predobre da bih ovomu dao ocjenu manju od četvorke

WHO'S THAT NAKED MAN Update 1: AYOOOOO???? Okay so I was surprised when I listened to the intro (idk if it's really the intro but it's called introducing the band so) but then We Are the Pigs started and I was like ?????? WHY IS SO GOOD??? this one sounds to something I would listen nowadays... omg I'm excited about this record now. (The YT Music audio quality sucks btw) Update 2: I'm literally two songs in (Heroine) AND I AM ALREADY LOVING THIS WTHHHH (Also, I might have to take a look at the MVs bc I just had a glimpse of heroine's and....yeah I have questions.) Update 3 (there are probably gonna be a lot of updates tbh) The Wild One?!?!? oh my god... Also, the vocalist is kinda cute... UPDATE 4?: Okay Daddy's Speeding sounds so spooky but so good at the same time wtf Update 5: Bro... I'm liking every song OMFG THIS IS WHAT I WAS TALKING ABOUT AT LASTTTTT UPDATE # I DON'T KNOW ANYMORE: This Hollywood Life intro ACTUALLY made my eyes tear AYOOOO?? the ending gave me chills holy shit. UPDATE # WHO FUCKING KNOWS: The 2 of Us while reading that ao3 fic.... DAMNNNNN I don't even want to call this an update anymore but HOLY FUCK The Asphalt World?!?!??!? I CAN'T I CAN'T WHY IS THIS WHOLE RECORD SO GOOD? WHERE HAD THIS BEEN ALL MY LIFE? ... I honestly don't even have words anymore. I cried-YES, CRIED- when listening to Still Life... like, not even kidding. I genuinely have no words. ... Okay... I finished and honestly? I would give it 5 stars just because one of the songs literally made me tear up LMAO. BUT, I will be fair to the other albums (even thought they are not even close to being as good as this one is lol) and I'll give it 4, WHICH IS THE HIGHEST RANKING I HAVE EVER GIVEN SO FAR ON THIS SITE OMG.

I'd listened to Suede's first album a bit, but never to this one. I liked it more than I thought I would. I enjoy the music more than the singing, but Brett Anderson's OK on the songs where he doesn't sound like a bad Bowie impersonator.

I put this on off initially, as I think the mood wasn't right for it. This is especially true of how I felt about Anderson's voice on that initial listen. The opening track "Introducing the Band", with it's ominous bass and drums plodding along behind Anderson's voice was a unique way to start the album, which I applaud. "We Are The Pigs" had great guitar, bass and vocals. This is what I am hoping I hear more of throughout the album; the way his voice rings when he sings the track title at the beginning of the chorus was pure ear candy for me. The echoey guitar riffs contrasted with the consistent scratchy riff while Anderson wails 'I'm aching' on "Heroine" was another example of candy, this one even more so, with the follow up lyrics doing a great job of expressing that obsession feeling. Some of that uniqueness was lost for me in "The Wild Ones", so felt largely forgettable, but it quickly returned in "Daddy's Speeding", leaning more into it's David Bowie inspirations. This, for me, is when Suede shines the brightest. Other songs I enjoyed were: "New Generation", "Black or Blue", "Stay Together" and "Whipsnade". Overall, an enjoyable experience, but can sometimes fall flat to a generic sound that makes it largely forgettable (such as with "Asphalt World" and "The 2 Of Us").

Oh my, this album brings back some memories from that time, one of which was going to see them in Leicester and being blown away by them. At the time I thought this was a great record and for the most part it still is but it seems to loose its way a bit in the second half. Nevertheless it’s still very good and The Wild Ones is still my favourite..

Je suis né en 1970, ce qui veut dire qu'en 1994, j'avais précisément vingt-quatre ans et que la musique bouffait déjà la quasi-totalité de mes neurones et de mon temps libre. Je ne vivais que pour le post-punk rigide, le neofolk crépusculaire et l'indie rock à guitares anguleuses. Et quand la première vague propre sur elle de la pop anglaise a commencé à envahir les bacs avec son optimisme béat et ses sourires de gendre idéal, mon scepticisme naturel était au garde-à-vous, armé d'un mépris féroce. En 1993, mon cœur n'avait pas vibré pour les coqueluches androgynes de la presse branchée, mais pour The Auteurs. Le cynisme glacial de Luke Haines, la noirceur lettrée et la morgue aristocratique de l'album New Wave formulaient exactement le genre de manifeste poisseux dont j'avais besoin pour contre-attaquer face à la machine à tubes colorés qui s'apprêtait à anesthésier le Royaume-Uni. À côté, la proposition initiale de Suede m'avait laissé un goût de produit de laboratoire trop apprêté, une tentative un peu vaine et opportuniste de fusionner la théâtralité glam de David Bowie et les arabesques de guitare précieuses de Johnny Marr chez les Smiths. Leur premier opus éponyme était certes truffé de singles imparables pour faire remuer les fesses des étudiants en art dans les clubs indés, mais cela manquait cruellement de tripes, de danger de mort imminent, de cette zone d'ombre viscérale et crue que je passais à chercher derrière mon micro de radio, bien avant d'aller défendre ces mêmes microsillons derrière le comptoir d'un magasin de disques indépendant à partir de 1996. Et puis est arrivé Dog Man Star, ce deuxième album insensé, boursouflé et ténébreux, qui a complètement piétiné mes certitudes. Suede a pris la décision radicale, presque suicidaire pour l'époque, de saboter son statut tout neuf de coqueluche des charts grand public pour accoucher d'une œuvre gigantesque, profondément vénéneuse, dramatique au possible et d'une prétention absolument royale. Le grand magazine américain Rolling Stone ne s'y est pas trompé en sortant les lance-flammes à sa sortie, qualifiant l'objet de crime de lèse-majesté : « l'un des albums les plus prétentieux jamais sortis par un grand label ». Alors quand le vinyle est arrivé à mes oreilles, cette sentence m'a fait ricaner de pur plaisir, parce qu'elle tapait en plein dans le mille. Mais ce que ces critiques américains engoncés dans leur rock traditionnel et leur grunge un peu prévisible n'avaient pas compris, c'est que dans l'histoire de la musique britannique, la prétention n'est pas un défaut éliminatoire, c'est le carburant indispensable des plus grands chefs-d'œuvre. Dog Man Star ne cherche pas à être votre pote, il cherche à vous impressionner, à vous écraser sous des vagues d'emphase baroque, de cuivres funèbres et de mélancolie pure. Ce disque brouille magnifiquement les pistes en troquant l'immédiateté pop du premier essai contre une plongée en apnée dans un spleen urbain suffocant, une sorte de cabaret décadent et vicié qui regarde le déclin de l'Empire d'un œil noir et vitriolé. C'est l'anti-Parklife absolu, le revers crasseux et magnifique d'une Angleterre qui commençait déjà à se vautrer dans la nostalgie factice et festive de la Britpop triomphante. Ce qui me fascine encore aujourd'hui, c'est l'histoire de sa propre genèse, un véritable traité de destruction créatrice. En 1994, Suede n'est plus un groupe, c'est un champ de ruines ambulant, un navire ivre qui prend l'eau de toutes parts au milieu d'un océan de cocaïne, de paranoïa maladive et de guerres d'egos d'une violence inouïe. Le point de rupture est atteint au beau milieu des sessions d'enregistrement lorsque le guitariste Bernard Butler, le prodige hautain qui taillait les arrangements de soie et d'acier de la formation, claque la porte avec fracas après un énième clash d'une amertume totale avec Brett Anderson. N'importe quelle autre formule pop bien sous tous rapports aurait implosé en plein vol, annulé la sortie et pleuré ses royalties perdues. Mais Anderson possède cette obstination farouche, cette morgue théâtrale et désespérée qui confine à la folie punk. Dans un geste de pure provocation ou de survie absolue, le groupe publie une petite annonce anonyme dans les colonnes du NME, cherchant un nouveau guitariste « influencé par Suede ». C'est là que le destin intervient avec ses gros sabots : ils dénichent Richard Oakes, un gamin de dix-sept ans à peine, un parfait inconnu sorti de nulle part qui débarque avec son culot pour reproduire et sublimer la sorcellerie guitaristique complexe laissée en plan par Butler. Cette atmosphère de sursis permanent, cette tension de fin du monde s'entendent dans chaque microsillon du disque ; on sent l'urgence absolue d'un groupe qui accouche de son grand œuvre tout en se déchirant les entrailles sur le sol du studio. Sur le plan strictement musical, l'album évite heureusement le piège de la redondance et va droit au but avec cette ambiance générale lourde, claustrophobe, traversée de fulgurance symphonique à couper le souffle. Dès l'ouverture, « Introducing The Band » pose les fondations du trip : une complainte psychédélique, rampante et hypnotique qui annonce la couleur. Le Suede sautillant et pailleté est mort, enterré sous trois mètres de goudron mouillé et de remords tenaces. Les morceaux rampent, s'étirent, se drapent dans une noirceur nocturne qui évoque le déclin des grandes cités industrielles. C'est le reflet parfait de cette pochette troublante aux teintes sépia, montrant un corps nu, flou et androgyne vautré dans la solitude d'une chambre anonyme. Le sommet absolu de cette grandiloquence assumée reste le morceau-fleuve « Asphalt World », une pièce dantesque de près de dix minutes qui trône fièrement au milieu du disque. Un véritable opéra-rock miniature et poisseux, qui se déploie comme le scénario d'une longue débauche nocturne. Ça suinte l'ecstasy coupée, les longues courses en taxi sous la pluie battante de Londres, les amours de caniveau et le sexe anonyme consommé dans la hâte et le regret. Les guitares hurlent des larmes de distorsion aiguës, la basse gronde sous le plancher comme un animal blessé, et la production d'Ed Buller donne à l'ensemble un relief cinématographique d'une intensité folle, transformant le désespoir des banlieues en une tragédie sacrée de premier ordre. En y regardant de plus près, je me dis que Dog Man Star est le pont idéal, le chaînon manquant entre l'efficacité mélodique de la pop anglaise et les exigences sombres, froides et viscérales du post-punk ou du rock gothique. L'album se referme d'ailleurs sur « Still Life », un final orchestral monumental qui sonne comme un rideau de fer théâtral s'effondrant sur un monde en décomposition complète. Il faut rester honnête deux minutes, ce n'est pas un album parfait, loin de là. C'est une œuvre parfois écrasée par le poids de sa propre emphase, de ses excès baroques et de sa grandiloquence mal polie. Mais c'est ce qui fait sa force magnétique et sa singularité absolue au milieu du paysage musical si balisé de l'année 1994. C'est un album viscéral, théâtral et d'une noirceur magnifique. Et c'est pourquoi je lui donne la note de 4 sur 5 car c'est une œuvre d'art totale, magnifiquement schizophrène et hantée, qui mérite amplement de figurer dans ce carnet des disques majeurs à écouter avant de crever seul dans sa chambre d'hôtel.

suppose for a Brit, Suede is a much more iconic band than over here. It's hard to judge from here. But it is definitely harder to get excited about a band that I haven't really gotten into as yet when there is already so much 90s UK rock clogging the list’s veins. But honestly, I liked this way more than I expected to. What was the hit? No clue and honestly don't much care. This is largely solid regardless, and from track 2 onward, every song has a little something to snag me in. It dips a little toward the end, as 90s rock sometimes can (these long albums often were expected when it came to the CD era), a bit too many slower songs in a row, but The Asphalt World is quietly massive, and Still Life is quite the impassioned outro. I think this'll need a few more spins. For now, it's a very high 3… for the purposes of the generator ill give it 4*

⭐ ⭐ ⭐ ⭐ A flawed epic, with a world full of ambition and some of their best moments, but it can’t paper over all of the cracks of a splintering band.

Very Bowie but very enjoyable. The Wild Ones best track 4/5

david bowie worship sure, but like really good david bowie worship

I'd say this is pretty fun, and better than it needed to be! Best Song: New Generation Rating: 7/10 Stars: 4

weird album but i liked it overall. a bit too long and some of the tracks were kind of annoying but the lyrics on the good ones made up for it. favorites: introducing the band, we are the pigs, the wild ones, the power, still life, stay together (long version)

I saw 'britpop' and got real depressed. Happy to report that the melancholy has passed. This is way better than any of the 'britpop' I've been handed so far. This sounds more in line with the 'post-punk' I've been hearing, actually. The vocalist is giving extreme 'spiritual successor to Bowie' vibes. There's texture, both crunchy and smooth, high and low intensity. The instrumentals aren't just a gossamer curtain of sound and the vocals aren't weak. Nice. I can only assume that, this being very early 'britpop', the coattailer acts that followed didn't really have the same je ne sais quoi as the trailblazers (as is usually the case). By the time 'second wave' rolls around the genre has become a pale imitation of it's original form. Sometimes that can be a good thing but I somehow think not in this case. Anyway, nice album. Cheers. Album cover: nice ass, man. Reminds me of the time I was walking through the rec center at my university and caught an eye full of some fella' that was just buck ass nekkid standing in front of the entry to the men's locker room (he was inside the locker room...just standing in front of the door though). He also had a nice ass. Not sure he meant to display it to anyone who happened to be strolling by butt that's what happened. Life Lesson: be aware of where you're standing when you aren't wearing clothes.

I am not a huge fan of a genre like this, still it sounds and I’ve even added a couple of songs to favorites

Good stuff

хорошенький, интересная музыка, и наконец-то нет ощущения, что все треки об одном и том же больше всего понравился daddy’s speeding

It starts off weird ... but the kind of indie British band weird that I'm very much into.

It's a shame that Coming Up, the album after this, was excluded. That's my favourite Suede album and it's got some more immediate hits which I prefer. This one is pretty good, it's a bit dark and depressing at times and Brett Anderson's lyrics are typically oblique and intriguing. It must have really stood out as unique against the more fun Britpop of Oasis, Blue, Pulp and Supergrass. I think the second half is slightly less good so it's 4* although Asphalt World is one of the highlights

A 90s British art-rock/pop album that I didn't know of that isn't mediocre or shit?! Surprising!

First half was so-so. Loved the last few songs. So powerful and ambitious, particularly vocally. Great stuff. Want to listen again!

At first I was like, this is The Cure but less interesting. But it got more interesting as the album went on.

Decent album.

#339/1001. I was expecting some Brit pop but instead got a grandious, deep, intricate, sad and powerful album. I didn't want it to end (but did not listen to the 2 extra songs Spotify had added). Someone said it has its mistakes and it is a bit over the top, but still belongs to every record collection. Damn, I agree. This changed my image of Suede more or less completely, perhaps they wanted to do that themselves as well. But still I'm not sure if I want to listen to their other stuff...nevertheless, a masterpiece or very close to a one.

Favorite Song: Heroine

I quote enjoyed this. It's better in places than in others – there were bits that reminded me of Sea Power, for example. Which is never a bad thing for me. Too long, obviously, and there were bits that I didn't particularly fall for. But better than their other album on this list.

enjoyed this album as a whole, I think every song flowed into the next nicely and I like the overall vibe. I think I'll listen to this again and really dive into the lyrics and I'm sure I'll like it more as I listen more & more fave first listens: the wild ones the 2 of us stay together whipsnade

this is very dramatic but in a cool way, not a confusing Tommy way

Wait what do you MEAN this wasn't named after the Brakhage film, how do you independently get to that title

Intrigued by this, i need to give it another listen

No parece un album de mitad de los noventa. Está muy bien. por momentos las canciones son repetitivas

Wish the mixing of this record was better but overall a really nice surprise with some standout songs. Deserves another listen when I'm not working.

Suede har en riktigt härlig och rätt unik musikstil, speciellt sångaren. Hade i princip ingen koll på just den här skivan dock, kul upptäckt!

Någon gång på 90-talet kändes Suede som ett av de stora britpop-banden för mig, helt jämte Oasis, Blur etc, men inser nu i efterhand att de aldrig blev riktigt lika stora och jag känner inte till alls lika många låtar med dem. Vid en ny lyssning nu känner jag dock att de har ett helt eget mörkt sound som jag verkligen uppskattar!

I love that Rolling Stone called this “one of the most pretentious albums ever released by a major label.” and it's a terrible take on the album. Ambitious, dark, introspective, full of grandiose strings and meaning. All of this does not make it pretentious, it makes it valuable and rewarding and real. Whilst Parklife was a similar time and went for a more accessible 'lads lads lads' approach in Brit-pop peak times, to have this as a counterpoint to it does not mean it was pretentious and a mis-hit it only makes it more important in my opinion. Whilst there are no stand out 'singles' to this album, unlike their follow-up, this is hugely consistent and real strength across the board, the run from 'New Generation' through to 'The Asphalt World' was particularly engaging.

me re gusto, mis canciones favoritas del disco son heroine, the wild ones, the power y new generation.

Low x bowie x U2? x other brit vibes? 3? Kinda came around to it near the end, more bowie-ish 4 by the end of this

another band i've heard some from but never got into. i dig this quite a lot. love that opening bass line for "introducing the band". really strong album all around

Mellow, lovely and different are the words I would use to describe this. Suede always rocks it.

Bombastic, histronic and overblown, this could very easily be painfully pretentious and unenjoyable, but it manages to (mostly) avoid that fate by virtue of some excellent playing and production. The music SOUNDS excellent, even when the writing is a little much. The album starts strong and ends even stronger, a little less bloat in the middle and it would be an all timer.

It's funny to see some of the critic reactions in the Wiki article calling this so pretentious. Because it veered away from the Britpop sound to make something different? I don't find it to be arrogant or insincere. If being glam, fabulous and totally extra is pretentious though, sign me up! The over the topness of it all makes for great music. Reading about the drama between the guitarist and the rest of the band cracks me up too. I kinda love their mess. This was particularly funny: Buller [PRODUCER] and the remaining members succeeded in completing the record. Butler [GUITARIST] did finish some of his guitar parts; however, he refused to do it at Master Rock and instead used another studio where he could work on his own. This is where he made a contractual contribution to "Black or Blue". Anderson [SINGER] discovered a covert backing vocal on the song, which he recalled: "I can't remember the exact words but it sounded vaguely threatening."

Building on from the breakaway success of their debut record, 'Dog Man Star' sees Britpop pioneers Suede take their sound in a more inventive direction, and while the record is more challenging and varied than its predecessor, it got lost in an environment where 'lad rock' (Oasis) was the talk of the town and Suede's artsier, more glam-influenced sound was no longer as palatable. With that said, 'Dog Man Star' is a solid record, even if it resulted in the self-destruction of the songwriting partnership between vocalist Brett Anderson and guitarist Bernard Butler, who quit the band before recording sessions for the record wrapped. It's a shame really, because both Anderson and Butler bring their A-game to this record. Anderson's vocals are as heartfelt and impassioned as ever, evoking David Bowie, Morrissey and Ian Astbury, and Butler's impressive guitar riffs drive the songs in a commanding way, sitting him alongside Noel Gallagher and John Squire as the finest British guitarists of the early 90s. There's so much atmosphere and grandiosity stemming from their musical partnership that its sad it was so short lived. Where their debut played it safe, 'Dog Man Star' dared to take risks, and the risks mostly payed off. This record has stellar production, and its a testament to Ed Buller's skills behind the desk that this record sounds as good as it does despite all the background animosity. The Bowie and Smiths influences of their debut are still wholly prevalent here, but 'New Generation' is oddly reminiscent of Prince's 'Little Red Corvette', and Anderson's vocals have a far rougher edge across much of the record, almost as if the 1990s was really getting to him by this point. Butler's guitar tone also features a wild edge reminiscent of harder Stones tracks, with elements of 80s rock and, strangely, Pink Floyd, especially on the nine-minute epic 'The Asphalt World'. It ended a fruitful musical partnership, but 'Dog Man Star' just might be Suede's crowning accomplishment. Best songs: We Are the Pigs, Heroine, The Wild Ones, The Power, New Generation, The Asphalt World

Really good but did there need to be a ten minute song

103. interesting

the release has a common problem of similar acts. it switches between genius instrumentalisation and a heavy whininess. all in all, very lovely release - especially The Asphalt World!

Personally my favorite suede album

An amazingly atmospheric and gloomy record without sacrificing what made the first album good. Second half is defo weaker tho - does The Asphalt World need to be over 9 mins?

Lol Pretentious butt album

I really enjoyed it in the background solid 3. The br*tish pop?/ soft rock? after the punk from yesterday was nice

love

I'm very familiar with the album Coming Up, but never really listen to the other albuns... worth the wait.

Pretty solid album all things considered. Not much to rave about but nothing to complain about either 7/10

I was won over by this in the end. It was pretty weird without coming off as overtly weird. Like, it wasn’t Throbbing Gristle weird, it was a natural weirdness. Like, who makes an album like this? But, also, why not? I’ll definitely put this on again for future reevaluation.

Definitely the better one of the Brit Pop bands for me. Good soundscapes, driving basslines, instantly recognisable, interesting vocals, and some stunners (incl. We The Pigs).

There's something special here... The album picks up pace in the second half. There is some really interesting songs for the time and the genre. Standouts: Heroine, Daddy's Speeding, The Power, New Generation(?), The 2 Of Us, Black or Blue, The Asphalt World, Still Life

What a vibe! Little REM, little U2, mix in the Cure…Very smooth album.

Even if I own the original CD, I had not listened to this in many years. This is one of the great things of this project. Very good album. Bowie's influence is clear...and that's always good. Great songs: We are the pigs, heroine, the wild ones, new generation... This may have got 5 stars if two or three songs had been scrapped.

Atmospheric, melodic, what a voice I doth my cap sir!

Solid jam. U2 vibes? David Bowie vibes!

82/100. Really good, honestly spectacular Britpop with a strong glam rock edge. This feels bigger, bolder, and more dramatic than their debut. The writing has clearly stepped up. The songs feel tighter, more focused, and packed with quality.

My only knowledge of Suede before listening to this was their hit "Beautiful Ones", which I found okay. So I was pleasantly surprised when listening to this. With the exception of track 10, there wasn't one single song that I truly disliked. Despite the album's long running time, I was never bored, and I even took it for a second spin immediately. The one thing that prevents it from being five stars, is that, even though I enjoy the songs, I can't really remember many of them afterwards. Will listen again. Favourites: We Are The Pigs, Heroine, New Generation

3.5

Belle découverte !

sounds like REM with a new vocalist

Algunas se hacían un poco largas y demasiado sufridas pero nicee específicamente we are the pies and the asphalt world

I missed this group first time (probably by avoiding hype). The sound is really nice with intruiging (Sgt Pepper style) lyrics. BA sounds like Bowie in parts. Having these two in review can only be positive.

It feels unfair to lump this in with standard Britpop; it’s far too grand and theatrical. Suede always seem to go under the radar compared to the heavy hitters of the mid-90s, but the songwriting here is unmatched. 'The Wild Ones' is the standout moment—pure, melancholic perfection. If you want depth rather than just anthems, this is the one.

Leaning into Bowie glam and 70s classic rock, ‘Dog Man Star’ is a grand and occasionally pretentious meditation on love, sex, drugs and loss. I liked this a lot.

Better than I remember. A lot more hits than misses for me. Favorite track: Black Or Blue

It's a little long, but the songwriting and melodies are really good. 3.5/5.0: Very Good

Überrascht von der Dichte an guten Songs - habe bei Suede nicht erwartet, dass das über 60 Minuten so stabil guter glammiger Britpop ist. M.E. Augenhöhe mit vielem was Pulp, Blur, Oasis produziert haben. 2. Hälfte des Albums baut ein wenig ab.

Actually really liked this one. Will revisit

It's a grower as they album progresses.

4/5 - an awesome Bowie / smiths esk album

How did Suede never hit me like it hit me this time? This is a very enjoyable album. Britpop done right.

A gem of a 90's British indie album, that got overshadowed by the more commercial Britpop albums around at the time.

Fav song up till now: this hollywood life.

I thought the guitar on this was excellent. Addition of the horns and strings was also good. I wouldn't say it was forgettable but those were the standout aspects for me, as opposed to any single track or lyrics

I love Bret Anderson’s voice. I know a Suede mega fan who says this is their best (and maybe the best) but I think it lacks the stand out anthem of the previous album. Easily rate this as a 4

Difícil avaliar este disco. A influência de Bowie é palpável. Quando o gerei e vi o nome Suede eu esperava uma pira bem mais Britpop, mas ao ler a entrada da Wikipédia sobre o álbum descobri que apenas o álbum de estréia deles é Britpop, neste segundo eles quiseram se distanciar dessa etiqueta… E conseguiram! Arranjos épicos em algumas dessas canções. Eu aprecio o quão imprevisível essas faixas são. As melodias são brilhantes e infectantes. Gosto dos vocais e dos instrumentais igualmente. Algumas das faixas possuem uma pegada bem Rock Prog, achei fascinante ouvir. Toda a experiência de ouvir esse disco pela primeira vez é bem engajante. Cheguei perto de dar uma nota perfeita pra esse álbum, mas sinceramente, as faixas mais melodramáticas e operáticas não foram plenamente do meu agrado. Uma pena! 4.5/5

I liked this album and I’m not even sure how to articulate why!!

I really enjoyed this album - felt like a bit of a Bowie and Killers mashup in parts, a nice mix of new wave, post-punk, alt-rock. I think what I enjoyed so much about this album was the variation across the tracks compared to some of the other britpop era we've had. I've not listened to much Suede - another one of those funny music hang-ups I have. It felt like in the mid-90s you needed to pick a britpop band, and my pick was Blur, so Oasis, Pulp and Suede went by the wayside. Dumb in hindsight, but teen me had weird unnecessary rules that I'm still unpicking as an adult. I'm giving this a 4, but I might come back and bump it up after a few more listens

Great album - didn’t appreciate at the time - loved the first album and didn’t get into this, but really good.

Solid, kind of a mix of Pulp, Oasis, and early Radiohead.

I liked the majority of this quiet a bit. I wasn't all in on the debut either, so I'll have to give that a relisten. Still life was a standout for sure

8.2/10

Pretty good one! Interesting music, nothing obnoxious or "bad". Enjoyed it!

Wow, this is pretty good! I'd never head of Suede before, and they've got a vibe that really works with me. However, I don't think there was any single song that resonated with me, but the album overall is cohesive and nice to listen to.

I rate this one, especially the first half. Second half towards the end got quite whiny, I don't have patience for that frankly.

Operatic Brit-rock melodrama that backs up its theatrical excess with genuinely inventive musicianship and surprising melodic depth.

Oooooh yeahhhh Ok this is one case where the UK focus of the list pays off. Suede probably didn’t break out internationally in a way that’s comparable to Oasis but they were so great. Dog Man Star was Suede’s breakout and it’s really emblematic of their style. Bowie weirdness, Smiths somberness, pure British. This album has this great mix of the band’s weirdness and catchiness. This is a mix of bizarre anthems, Anderson’s over the top delivery obviously modeled after Morrissey but not in a copycat way. It’s big but much more affected and dynamic. The guitar licks are tasty and memorable. The album’s general sound is like a dark rainy alleyway at night (or maybe it’s just me thinking of the Electricity video, which I think only comes in two albums). Unlike other reviews I also really like the second half of the album. Reminds me of Mercury Rev. Very cinematic. Melodramatic dark and super fun listen. Four stars. God save the king.

As someone who only knew "Beautiful Ones," I was caught off guard by this album, though I'm not sure if that's in a good or a bad way. The first half felt kinda meh to me, but I realized that it's more of a slow-burn album. The real treasure comes at the end. Edit: On my second listen, I kinda appreciate the opening tracks now. However, the pacing still dips in the middle. Favorite tracks: The Asphalt Road, Still Life

Knew of suede mostly for their self titled debut album. So when I finally gave this a run, an album widely thought to be a BETTER follow up, I was excited. And you know what? It delivered. Although I was pretty surprised how different it was for an album released a year after their self titled. But nevertheless 4/5

Great, and another one I’d msissed before now.

People: ‘Blur or Oasis?’ Me: ‘Suede.’

Very interesting it reminded me a lot of Japanese vkei. A lot of dramatic sound will be revisiting this one

this like the only britpop band i fw contrary from the cover, this album is not buns whatsoever

I know this album, but very well. I was never a massive Suede fan, I preferred other similar bands at the time, particularly Shed Seven, Ocean Colour Scene, Cast, The Seahorses and The Bluetones. This is a good album though, just find his voice a little annoying after a while. Deserves a 4 at least.

I was a Suede guy, loved (and bought) the singles from the first album and before when they came out, but never quite got this album. I went straight to Bernard Butler's solo album which is brilliant. Listening now, I thought I still didn't get it... Until the second half - from New Generation onwards I loved it. It all just clicked, the pretension, the voice, Butler's incredible guitar work. The whole thing wears its influences very heavy, but there's nothing wrong with that.

Love the soaring, orchestral production with the very modern exploration into grunge and electronica going on in this album

I had no idea this would be so soaking wet with glam rock. I’m sure the singer and the band are insufferably pretentious but this feels like an album that pays so much in tribute the Bowie and T Rex (I kept expecting him to yell out “Ziggy played guitar.”). It does feel a little novelty act but the music is well written.

The year is 1994. Suede and Pulp engage in a ruthless battle for the top of the UK charts. Pop historians will call this the Battle of Britpop. Brett Anderson of Suede is quietly thinking, " Thank God there's no other Britpop band(s) that could possibly surmount us or Pulp." Favorite Tracks: Heroine, The Wild Ones, The Power, New Generation, The Asphalt World, Still Life

Good album

Great! Pretenseious but cool.

Hey, et britisk rock-album jeg ikke havde hørt før som faktisk var pissefedt! Meget mere Pulp end Oasis [positivt] We're so back, satser på den næste uges tid bliver en ren bangerparade

actually really enjoyed this def wanna listen to again and add songs to favs!!

The kind of album that deserves vinyl and a cigarette. Maybe some poetry.

I always considered Suede one of the better bands of the Britpop era, although pre-Spotify I was never a big enough fan to check out their albums. Really enjoyed this one. Brett Anderson has a distinctive voice with great range and a beautiful tone. Will definitely be adding this to my playlists

Not a massive fan of. Did enjoy this album .

Nicht so übel ...

Suede were not for favourites when they were about I the 90’s. Had no feelings one way or another. But I really liked Brett Anderson’s solo work. This prompted me to revisit Suede and obtain one or two of their CD’s including this one. I have therefore learnt that Suede were a very competent band and this album one of their best. A welcome addition to this list on the day before the entire musical world goes bonkers over the next Taylor Swift album release! It’s now 11 pm so I’ll be joining the rest of humanity in an hour when streamed on Spotify for the first time. Wonder if the servers will cope? 4/5 2/10/25

Mejor de lo que lo recordaba en general. Teniendo en cuenta que "The wild ones" es una de mis canciones favoritas y al oírlo pasado el tiempo me doy cuenta que siempre lo escuché mal. Los vendieron como los Smiths de los 90 y no eran eso, igualmente a día de hoy me suenan más experimentales de lo que los recordaba y creo que el disco ha envejecido/evolucionado muy bien.

As far as the brit pop albums go, I enjoyed this one quite a bit. Seems like a band that was not wanting to embrace the 90s sound because this very much sounds like an 80s record.

I had zero expectations going into this one. I just read "English post punk" and I got cringed, because so much of this damn project is British Indie. But damn, this thing slaps. It kind of feels like a David Bowie rip off, but I'm totally hear for it. Its like Bowie + The Stone Rose + Morrissey. But heavy on Bowie. I like the flamboyant vocals that are also sad and dark. I like how the music keeps you on the edge, but also keeps you engaged and flowing throughout. I was jamming this on a plane while I worked and was having a blast with it.

Pleasingly Bowiesque

Enjoyed this one. Definitely a sound that came out of Britain in the 90s. Well put together.

Gillar det! 90-tals alt-rock, några riktigt fina låtar och snyggt arrande

I've never listened to this album (12). Cool stuff to discover! Very well produced, with more bite than a lot of the Britpop that came later. Great bass throughout.

Æ trodde æ kom til å like Suede, men det gjorde æ ikke egentlig.

this is the second album from Suede in this list and it does not disappoint

This album had many sad undertones I found myself relating to even if I prefer upbeat and happy to escape my own pain. It felt like a sixties album released in the 90s. Very unique.

J'ai écouté un peu distraitement mais je suis déjà conquise ! À réécouter sans hésiter.

Suede siempre es un acierto, aunque escuché el disco remasterizado que dura cerca de 2h30min...y a lo mejor me hubiera llegado con el original de 1h30min. Pero Suede siempre es un acierto seguro.

convincing

Huge sound, melancholy tone, and great melodies. I think a lot of David Bowie and the Smiths, both of whom have inspired plenty of bad bands, but this was quite good and well-crafted. Best song: New Generation

First time listening to Suede for me. Great album

Pretty good. It's a shame I will always associate this album with wet shoes and rainwater.

Definitely their best. Great listen - still strong

Really enjoyed this album. We are the pigs and the wild ones highlights. Definitely guna return

I thought it was quite good. A little too long for the time frame I had so listened to the first few songs and thought they were quite good. Nice break from the normal ones that I hear on the radio. 4/5

Wow, what a start. I didn't know what to expect as I don't listen to britpop a lot (a few songs by Oasis and Blur, but that's it). This blew me away. Liking it a lot on first listen. 4/5 maybe even 4.5

The power, asphault world, still life, stay together all standouts

This one caught me by surprise. The last Suede album I listened to was pretty mediocre, so I went into this one a little hesitant, but I ended up enjoying it. It sits on a Britpop foundation, but there’s this dark glam element that gives it a heavy, almost cinematic atmosphere. The vocals are theatrical and grandiose, almost operatic, and the whole album carries a moody tone. Normally, by the way I’m describing it, you’d think it wouldn’t appeal to me, but somehow it all comes together into something I actually enjoyed.

A great entry in the 90’s British Invasion, more psychedelic than I expected but not in a bad way. Will definitely be return to it and adding to my rotation. 4/5

Solid Bowie inspired songs.

I liked this a lot. Great stuff

What an album

Although they were around at the same time as Britpop, it would be almost disrepectful to call them a Britpop band, they had so much more to them than that. Atmospheric, orchestral at times, dark, doom-laden songs with a deep need to connect with something, anything, someone, anyone running through them.

When I saw this album I thought I was in for another boring, pompous, melodramatic Britpop album that ultimately didn't really influence anyone. It definitely has elements of that, both in its production and in its songwriting ("The 2 Of Us" in particular being a track that typifies the type of British music I fucking hate). But, to be frank, this album was dope.

Bjóst ekki við neinu, en þetta er mjög þétt plata. Soundið gott og svolítið spes eerie fílingur í þessu.

Ég hef ekki verið sérstakur aðdáandi Suede sándsins, en þessi plata fannst mér mjög heildarverk. Eiginlega ekkert leiðinlegt lag.

11/1001 :: The London Suede - Dog Man Star Heard before? ❌ Would I revisit? ✅ Rating: Strong 8 Fav Tracks: This Hollywood Life, The Power Was cool to see the reactions when I posted to #NowPlaying this Am. It was easy to see how someone could fall in love with this album. Dynamic, very operatic (like Queen at times) and also very very Bowie. Felt like Ziggy Stardust Vol. 2 in many cases. That’s not a bad thing if it’s done right and for the most part I’d say it was. Albums like this is why I’m doing this exercise. It’s a little over the top for me at times but that’s OK overall this album was fucking great. Wonder if these cats have enough good albums for a Discogs run? Lastly, feels like this album should’ve come out in 84 VS 94 but whatever I’ll take it…

Much more epic and defiant than I appreciated on a first listen. It really does feel like a classic Bowie album for the 90s. Insane to release this at the same time as Definitely Maybe and Parklife.

4/5

Zuhause, Heidenheim, Deutschland. hat mir sehr lecker geschmeckt.

Britpop, but better than the usual suspects. 3.5/5

I've listened to this before, although suede passed me by at the time. It feels bigger and has more weight to it than most Brit pop albums. This works, but also makes it a bit of a slog in parts though. There are some great tracks though. I think it starts really well and ends really well, but it lost me a bit in the middle. Highlights: We are the pigs Heroine The wild ones Stay together Whipsnade 4

Cracking album from a band that feels like it was a real 90s indie player

Beautiful

Hell yeah glam revival

I like Suede, and knew the singles from this. Their beautiful guitar sounds and glam swagger, with echoes of Bowie, were always likely to mean this would get at least four stars from me. I hear they're a five star live band, due in part to Brett's charisma. There's something about his voice on record, though, that can jar for me, and I didn't love all of the melodies here, on first listen. In fact I'd say it dragged occasionally, although it picked up with the last two tracks: the epic The Asphalt World, and the gorgeously over the top Still Life. Overall, very much My Sort of Thing. Bernard - incredible.

Good but their first album’s better

Some really cool, psychadelic and emotive songs with definite relisten value. Unfortunately there were also some parts that were mixed in a way that sounded like a homogenous soup of noise

Pretty good, maybe a little forgettable.

I enjoyed this.

Album feels more like a spiritual successor to David Bowie than a peer to Oasis or Blur. Favourite Songs: The Wild Ones, This Hollywood Life, The 2 Of Us, The Asphalt World. Least Favourite Songs: Introducing the Band, Black Or Blue.

Прикольно красиво

Good

Nice

The Rise & Fall of Ziggyphychostardustcandy 9.4 ★★★★½

4.5

I was initially quite skeptical of this album, feeling like it was trying to be overly artistic, but later in the album, I was hit with some good tracks (especially the final two) that I warmed up to it a little bit. Favorite Track: The Asphalt World

That was actually quite good! 4/5

You can’t be Sirius.

Sirius stuff

Really enjoyed it

I come into this as a casual Suede fan, having only really dug into their singles before. There's things about this I really like - the expansive sound and the variance in instruments and approach. There's a few tracks that sit in the 'meh' category for me, but others grew on me with a repeat listen. It's a really strong ending to the album. The Asphalt World is real nice. It develops into a really lush, drawn-out proggy affair. 'Still Life' is an absolute banger to end on. I love the bombast there with all the violins and brass. We Are The Pigs is also top notch, what a tune. I originally went 3.5 rounded down, but it's grown on me and I've re-assessed.

We’ve had another Suede album, “Suede”, before. I really liked a few songs from that album (“So young” and “Animal Nitrate”) so was interested in this album. Last time I felt Suede was best with their more uptempo and energetic songs, I feel the same this time around. The album starts of strong with “Introducing The Band” and “We Are The Pigs”. Honestly, the general sound is just good. I feel like this is what “The Smith’s” should’ve been. It reminds me slightly in sound of the Swedish band “Kent”. For the hits of the previous album and this I think Suede is deserving of a weak 4 even though maybe it should be a strong 3 star by just judging this album by itself.

Dog Man Star is a really good album but i don't think it's as good as Suede's debut. I guess i could attribute my feelings to my mood because i was pretty sleepy when i was listening to this but this album still feels like a step back in a few ways. The music took the biggest hit, while it was still good and still had a decent bit of interesting moments like the majority of the back half being reserved entirely for ballads but i still feel like the first album did it better. The vocals are about the same and the lyrics are a step up due to sounding a bit less weird. This definitely still is a really good album but i still prefer the self titled album. Best Song: New Generation Worst Song: The Wild Ones

Hadn’t heard of this one before, really solid though!