Dog Man Star

Britpop is just the most perfect genre description for this. I actually really enjoyed this, unexpectedly I might add

This was ok, feel like it started strong and then tailed off somewhat and became a bit same-y

What if Echo and the Bunnymen made a Britpop album.

Hey look! Britpop for a change! Actually I don't know this at all. Though the band does seem vaguely familiar to me. Let's jump in. Ok so it's not quite as Britpop-y as I thought. A song and a half in and it's good solid vaguely glam/art rock. I dig it so far. I get the Bowie comparisons, I feel like those are a little bit of a stretch in some cases but dead on in others. About two thirds through, this album is really holding up, I like it a lot. It's not the same as every other record coming out in the mid 90s, the production is good, instrumentation is good, vocals are good, lyrics are good. I really enjoyed some of the guitar work in this one. Not super complex but lots of feeling and tone is excellent. It's a super solid album and I'll explore more from Suede for sure. 5/5

This is the album that was my introduction to Suede/London Suede and I pursued listening to their other albums as well. In fact, I still think they are putting quality albums to this day. Suede is still a strong band and this is a strong album. It hits the sweet spot between Brit-pop, glam rock, and pretentious rock that works well for me. My favorite songs: We Are the Pigs Heroine The Wild Ones New Generation Hollywood Life The Asphalt World Still Life Stay Together

Liked 2 songs

It's quite a fine rock album. Cannot say anything bad about it. I rather enjoyed it.

(Light 8/10) Sounding remarkably like the glam rock of Bowie's peak career, this album is melodramatic and grandiose, all the while still working in that 90's sheen of angst and emotionally complex lyricism. "We are pigs" and "The Wild Ones" stand out as the album's most exciting tunes. the latter have a great mixture of guitars, piano and strings. "The Asphalt World" is a 9 minute-long artsy-proggy emotional climax that feels like the end of a broadway rock opera. In the between these massive moments we have swirling and psychedelic detours with "Daddy's Speeding" and the intro track. Piano-led ballads with Brett Anderson's fantastic vocals commanding attention on these. I think the obvious influences being worn on their sleeves distracts the album a bit too much at the end. Suede capture the essence of 70's glam perfectly, and the songs are all great, I just wish it was a bit more original.

While we're all quick to point out the extensive amount of britpop on this English people based list, the frontman Brett Anderson says it is an anti-britpop album and he despises the genre/label that made Oasis a shitload of money, Blur a good amount of money, and Pulp enough to buy a house or something. But what of Suede? They were seen as the big band before Oasis took off internationally just a few years later. I guess I'll find out. Personally I hear more Midnight Oil than David Bowie that many rock critics often compared Anderson's voice and stage appearance to. The androgyny sure but the falsetto sounds more like the Midnight Oil (who are not on the list? uh hello they're one of the more important Aussie bands to exist and were a hit internationally?). While Midnight Oil's songs are much more political and well, Australian, Suede songs are decidedly not all that. The times where the album blends the rocking stuff with the wailing vocals are probably when it's at its best, and unlike Oasis who need to make EVERYTHING LOUD AND PISS ON DYNAMICS, Suede does not do that. I guess that's the anti-Britpop part. But that also lies the issue with this album (or at least from the initial American critics reaction to Dog Man Star when it came out), it's a lot of slow songs. Haunting ballads, that could probably work if it wasn't too dull or drab. I kind of like the Midnight Oil guy's voice anyways. You can tell why the guitarist quite the band after this album, because he's got a lot of nothing to do for a good chunk of the album. Is that inherently bad? No! But for that to work on a ROCK record, you need to probably use that instrument for a better portion of time. Unless you're like Billy Joel or Elton John, it's just not normally right. I think Dog Man Star starts on the right foot for the first three songs, but it just kind of unravels like a bad plot twist. Like the first bite was really good, but the aftertaste is starkly unpleasant. I don't think it's pretentious, it's more half-assed than that. I can hear what they are trying to achieve and it's not purple prosey shit to it. It's just that the ends don't justify the means. It's kind of just all over the place, I guess meant to be a beautiful mess or something. But I don't know, I'd rather just hear some blues for like 30-40 minutes and get a better albeit much more predictable result. I don't know how to end the review of this record but I'll just say that the album starts good, is okay for the most part, then turns out as 'eh' at the end because it's probably too long for its own good. Maybe use some synthesizers during the slower ambient bits, that would be better for the listener.

Almost good. To many others have done it better.

1994 Glam rock, Art rock, Alternative rock Es curioso porque tiene un estilo más moderno pero instrumentos de la época. Una mezcla entre glam rock y el sonido de The Cure en álbumes más oscuros. - New Generation

Okay Brit Pop that never feels innovative in any way, but sometimes annoys with its pomp. Still don't like Brett Andersons voice.

This is some cool britpop.

Started off pretty good, but really went downhill after track 4 or maybe 5. Some of the more obvious glam-era Bowie worship seemed like parody and came off pretty badly I thought. I liked the first album a lot more.

Add this to the list of proof that 1994 was the best year for music ever. Every time I find an album like this, that I wasn't really familiar with, and I see it was from 1994, I know I'm in good hands. I liked the last Suede album I listened to, but I think the difference between that and this feels huge. It's such a grandiose album, there's so much drama to it and it just lends itself to a very engaging and enjoyable listen. His voice didn't bug me like it did last time, it really feels like they were firing on all cylinders. Favorites: We Are The Pigs, New Generation, The Asphalt World

Цікавий гурт. Нарешті)

legal mas n foi mt memoravel pra mim

Really enjoyed this one, but some of the melodies didn't grab me.

nice enough

This sounds very much like a lot of the 90's British Invasion. It reminded me of Pulp, but I didn't particularly like this singer's voice. Nothing really stood out to me on the album.

Left me feeling unthrilled and unbothered. The Asphalt World was cool, but nothing else grabbed me.

Mostly soft and melodic. Vocals that reach out to opra house scales. Interesting metaphorical lyrics at times. If this band had of stayed together who knows .....

This started out super promising with shades of Bowie, Cult, and The Cure. A few songs in, it went violently downhill into an overly dramatic operatic borefest. Cut the album run time in half and it would vastly improve.

3.5?

Could have easily been 1 star if a couple of songs didn’t save it. A real mess of an album.

Новых открытий я для себя не сделал, но тут есть Still Life, моя любимая песня группы

Прекрасный альбом. Не слышала его лет 9, наверное. Боуификация Бретта Андерсона прошла успешно. Батлер бай бай. Очень люблю the 2 of us. Моя база.

Опять брритпоп...

The best!!!

средне, не лучший альбом suede как по мне - 3

The making-of story is far more interesting than the result. It is exactly what it sounds like, an unfinished mess pieced together and called an album. Brett would soon course correct and deliver a terrific set of songs, but Suede would forever remain just a bit overlooked compared to their monosyllabic competition.

Dog man arse.

Dog Man Star Very similarly to their debut I enjoyed this without being fully sold. Bernard Butler is of course still superb, although I do get a slight sense of him going through the Suede motions on some tracks - but that is probably more a case of me imagining that as I know he left part way through. There aren’t really any immediate standout songs like Animal Nitrate and Metal Mickey on the debut, and on The 2 of Us, Black and Blue and The Still the Bowie/Anthony Newley balladic idolatry really isn't very appealing, but elsewhere there are some very good songs and moments. We Are the Pigs started to really grow on me on repeat listens, it’s got a heavy moodiness with a lighter vocal tone and line that I like. The Wild Ones, Daddy’s Speeding and New Generation (with some Divine Comedy to it) are good, and the stompiness and scratchy, glam tone of the guitar on This Hollywood Life is great. But my standout is The Power, a lovely melody, snaking bassline, guitar touches and string arrangement, reminding me of latter day Manics a little. I also like how the whole thing has a nice balance of drama and melodrama, at least musically and melodically, and I can see the appeal of its slightly squalid romanticism, even if I’m not hugely into it. Not sure it quite makes a 4, so I’ll go with a high 3. 🐄🐄🐄 Playlist submission: The Power

Much of the album is a Bowie/Smiths mix. 'Daddy's Speeding' particularly has Morrissey's vocal intonation and predilection for car crashes, an approach better repeated on the Britpop-distancing 'The 2 of Us'. 'Asphalt World' has a similar epic croon. It finally tips too far with the final track - woe-is-me 'Still Life', sounding like a band in its latter career rerecording songs with the London Philharmonic. What often overcomes the self-indulgence is Anderson's knack for a strong melody. Overall, I buy into the grandeur and excess of it, and the Bowieness and Smithsness of it. Most importantly there are some really excellently rendered wallow-ballads amongst the rock-tracks, with melody not forgotten.

I didn't much care for the last Suede album, and I don't much care for this, though it wasn't as bad as the last one. The vocals are just kind of annoying to be honest, and everything else is fine but never rises above just fine

What I love immediately is the melody and the sheer epic of their music. Suede’s songs are filled with metaphors and double entendres which are clear and enjoyable. There were a few songs I didn’t care for but that doesn’t mean it ain’t GOOD. The Asphalt world made me say WOW out loud and Still Life is a perfect closer. Idk if they made anything at this level before or after this but this is a complete body of work. 10/10.

What a fucking bore holy shit

04/08/2026 This is the second album I've had from Suede and twice now they haven't impressed me. Spotify listeners: 754.7k

Not my vibe. Just generally boring I’m afraid.

Hard to rate album. Some part are quite boring, almost feeling like U2 and some others are very cool and entertaining. The other album was definitely better 3.5

Sigh... Why is there a third Suede album on here? Honestly, how much whiny Brit Pop can there be. [checks former ratings] OK, so this is my first Suede album, the two before this were actually Pulp. Welp... Still the same same boring whiny stuff.

This is pretty cool. I really like Suede's sound; I could definitely see me coming back and giving it a more careful listen. One to dig out from time to time.

I read that this album was a move away from their Bowie-inspired sound, but honestly, it could have been a Bowie album. Not one of his best, but solid enough.

Holy David Bowie influence. This is the type of Britpop I don’t mind. There’s effort in the song writing and it’s much appreciated by me.

Everything I hate about BritPop bands in one album. Overblown and boring. Zero stars.

Thoughts before listening: 2 Suede albums huh? If I recall correctly, Suede was okay on the first album I listened to. Basically Britpop with more of a classic rock/glam mentality. This album cover sure is something. Review: You know what? This is pretty good. I'm hearing David Bowie mixed with the Smiths. Something like that. It's definitely a more classic rock approach to Britpop and alt-rock. I'll give this 3-stars

I enjoyed this more than their debut, but it just doesn't grab me like it seems to grab others. Fine album, but some of the schmoozier tracks like The 2 Of Us really take me out of it.

I enjoy britpop, but this album just feels kind of dull. 3.5 bumped down to 3.

I’m at a 4.5 that I’ll bump down to a 4. It’s a good album. It’s extremely technically sound, and the lift in most of the instrumentals here is super appealing to listen to. Brett Anderson’s vocals evoke David Bowie even more here than on their self-titled album, & while his falsettos feel a bit overused, they don’t ever feel too cheesy. Bernard Butler’s guitar / piano work does a hell of a job of setting the mood on these tracks. Their songwriting is a little more cryptically written here, but while it did bother me a little bit, I can’t say it ever really sinks any of the tracks here. I don’t think there’s necessarily a bad one either. I enjoyed each track as they all played out, and I think the album hits an especially nice stride from “New Generation” to “The Asphalt World”. If I don’t really find anything super flawed about the album, why am I bumping it down to a 4? It’s a little too dense, honestly. It’s not dense in the “this is overstuffed with too many tracks” way, but instead, it’s just dense in terms of an unnatural flow from track to track that’s somehow doing too much & not enough at the same time. Don’t get me wrong, I’m impressed by the album’s scope and I think it deserves some of its acclaim, but this album is trying to pack so much bombast into concepts that are ultimately somewhat mundane. These don’t play out in a way that has me as engaged as the quality of the tracks themselves would suggest, and it just doesn’t leave me fulfilled as I think it wanted me to be. I felt the best ones were the ones that pulled back a bit more & played themselves more straightforward, and the ones that tried really hard with the instrumentation left me at more of an impressed applause for the compositions & less for what the track was intending to do emotionally. I’m not sure it’s a bad thing at all, but the album seems to live & die by the ethos of self-importance. Rolling Stone called it “pretentious”, but that feels like a flawed misnomer to me. It’s the type of importance that made this album polarizing in the ‘90s, and it’s what had me conflicted for a while. I think I’ve landed on enjoying that self-importance when the tracks have a fruitful story to tell, but feeling more so obligated to simply like them when it doesn’t. That’s a slight overexaggeration, as these tracks are too technically sound to not feel something, but if it’s harder for me to truly maintain the same level of investment from track to track on the album, it probably speaks to something lacking in the album itself that’s worth connecting to. Hence, a 4.5 that I’ll bump down to a 4, though one I still respect the hell out of & would certainly recommend. I know, I know – another big multiple paragraph fuss about half a percentage point, but it really is the type of thing that could sink this album much lower for other people. It’s probably why this only has an average of 3 on the site. I hesitate to say it’s all in the intangibles, but sometimes it just is. It’s a good album, and it hits all of the right marks. It just doesn’t make me consistently believe in the potency of those marks & a further conviction towards what’s being made. Despite that, it does deserve to be on the list.

GREAT :) MORE :) SHITTY :) BRITPOP :) AWESOME!!

the album[ cover]'s got butt, but does it have balls? unfortunately for both, no :/

I was a hater before I started d/t the last album. Then I was jammin’. Then I was a hater again. But then, I was jammin’ again.

I really liked this. For some reason I’d only listened to their first album. This one still has a lot of Bowie influence.

Love that sound. The voice and the delivery is quite Bowie in a way that I never noticed before. The guitar is like a tame tidy hendrix in parts (there's something about the taste in harmonies). The rhythm section is so great though. I love that kind of slightly swinging bounce they generate on the uptempo tracks. The ballads I enjoyed but I'll have to spend more time with them to really love them I think.

Better than Coldplay

Fontaines DC meets Bowie in a rlly good way Enjoyed a lot more than I thought I would

Ah damn another one from them is in here? Yet again musically they are good, but fuck all to the lyrics. Also this album is so melodramatic it should have a montage associated with it. This doesn't need to be on the album same as their first album. It's fine music but feels very try hard and there are better bands out there not on the list.

Nothing downright bad about this, but definitely one of the less interesting britpop albums out there. I feel like britpop is a genre where even the more "generic" album still have something to offer, even the ones that have no real distinguishing features still have that super fun and catchy britpop energy. But this is much slower, and while there is still a lot to be said for an attempt at a slower britpop album, there are definitely better ways of going about it. I guess it's easier to appreciate this album when you take it more at face value, if you go in wanting it to sound like Blur or Supergrass then you will be hugely disappointed. But going into it knowing that it has more of an edge to it, it is better than it seems. I just wish they did more with it, as it really does feel like they were on the verge of greatness with a lot of the ideas on this album.

I liked introducing the band. They kinda sound like the cranberries at times The 2 of Us was pretty Not many standouts after the intro, but solid album.

Never really listened to suede, assumed it was 80s but mid nineties feels weird!

I actually really liked this record. I had heard of Suede within the britpop space, but had never given a listen. Needed a relisten to really form an opinion, but it feels like a David Bowie take on Oasis, if that makes any sense. The guitar tone really reminded me of an Oasis song I heard earlier today. But has a dramatasism and exaggeration and orchestral identity that felt so glam rock/Bowie. Long record, but would listen again.

Never got into this at the time. Seemed to different to the 1st album which I bought on release day, but it's actually decent. Need to listen to it more often.

Shades of Rush and John Lennon in places. Interesting listen, but I don't think I'd listen again. Definitely sounded more like 1989 than 1994. Three stars.

Fantastic glam rock

This was one I had never heard of before and wasn’t sure what to expect. It turned out to be a fun listen. It felt like a modern Echo & The Bunnymen.

I’ve never heard of this album, but I enjoyed it all the way through. Always a pleasant surprise when that happens. At times, it feels very grand and other times, it’s pretty experimental. The last two songs in particular are notable. I’m not sure if I’d listen to any of the songs on their own, but as a whole, I liked it a lot.

Glam prog is an unusual trick. The multitude of parts work together well, inverse to the relationship of the two principal songwriters. One of the more sumptuous difficult albums in the library.

Delightfully silly, an overblown, pretentious, charismatic glam car crash; a breath of ambition in a rapidly-stagnating era, stealing from Byron rather than the Beatles. I loved it, of course; their Bowie aspirations never bettered than on "We Are The Pigs" and "The Wild Ones". Sags substantially in the middle, but the gloriously-overprogged "The Asphalt World" brings it home for the requiem before Butler left with the talent.

I heard that when the lady from Elastica left this band she took the treble knob with her so now Elastica has 2 treble knobs and Suede has 0 treble knobs and that's why they both sound like that

Very wonderful and meaningful album to me.

Had to listen to it twice! What a nice surprise and a wild ride. Very David Bowie meets 90’s alternative.

Fairly pleasing if not exciting rock album.

Meh.

It's like bargain bin David Bowie. Couple decent tracks early on. Some of it is forgettable. Some of it is a bit over the top melodramatic. Some of it I dig.

Introducing the band - 3 We are the pigs - 3 Heroine - 3 The wild ones - 4 Daddy's speeding - 3 The power - 3 New generation - 4 This hollywood life - 3 The 2 of us - 2 Black or blue - 2 The asphalt world - 2 Still life - 2

Starts off well but gets a bit too operatic and dramatic towards the end

Kinda just medium. Ok.

Rerig goed. Ek het nie geweet wat om te verwag nie en die reviews het nie baie positief geklink nie maar die was 'n goeie luister. Daar is nie rerig 'n standout song nie maar niks slegs nie

Liked it more as it went on, that's suede right? Yeah probably three stars.

A luscious Britpop album that verges on goth at times. It’s also glam, and a bit emo. I hear Bowie in there as well as the smiths, but they manage to carve out their own space. It grew on me as the album went on.

This one started like it was about to be amazing, but all the songs started to suck towards the end.

At a time when Bowie oversaturation in this project may be legitimately be affecting the ratings, to have thi land a day after Low, and to have this be perhaps the most Bowie-sounding non-Bowie album I’ve ever listened to, is maybe unfortunate and unfair. I will say that I generally liked it, and it didn’t overstay its welcome. The Bowieness was a bit distracting though.

Noun noun noun. It had its moments, but there is much better Brit Pop I’d rather be listening to.

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

Slow but pleasant

I've been listening to this since it was released. Not necessarily a top album choice during that time, but it's consistently near the top and always a pleasure to listen to it. It definitely feels like a comfortable blanket of sound, beautiful sounds beautifully put together.

This album sounds dated even for the 90s. Full of strange vocal effects, ploddy glam rock rhythms, mopish melancholy lyrics, and dense as lead. I also don't love Anderson's vocals - it's like a wimpy David Bowie, with none of the charisma. "Still Life" is fantastic, however.

#379 I find this very hard to rate, it’s an album that I have gotten to know only this year but Suede were always a band I didn’t really get on with, mainly because of his vocals, which I’m still not massively fond of. The album itself is cinematic and quite theatrical and ticks a lot of the right boxes for me but I don’t think it’s something I would choose to put on and listen to in full, especially because it feels quite long. It’s a 7/10 album for me which ought to earn it 4 stars but I don’t quite feel it merits a 4 star rating such is the fairly brutal nature of a 5 star rating system. Heard before? ✅ Would I revisit? ❓ Listen before you die? ✅ Fave track(s): This Hollywood Life Rating: 7/10 ⭐️⭐️⭐️

I liked the first song, but it kind of goes a little too art-rock after that. Actually it gets progressively more art-rock Bowie like as it goes on, so I can see why it's on this 1001 albums that are related to Bowie or pay tribute to Bowie list. 1/5

My opinion of this band has not been suede after getting a second album of theirs within a week. Still a 2.

Unlike the self-titled, debut album by Suede this record is actually tolerable. The music is strong and the vocals are inline with the era’s music. This is far from a favorite, but I did make it through the entire listen without pleading for it to be over.

I’m growing weary of British people and the bands they think are good. Better fabrics to listen to than Suede - Nights in White Satin Corduroy Plush Leather and Lace Suedehead Leopard Skin Pill Box Hat And pretty much anything by the Velvet Underground .

If I read one more review comparing them to Bowie I'm going to lose my mind, sure the voice is similar in spots, but to compare this to Bowie is absurd. Thank god this is the last suede album we need to endure.

Nie wiem, jakieś takie zbyt alternatywne. 2

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.

Low expectations for this one. Never heard of album or band but it screams alt. Good luck following up nine inch nails form yesterday. Cool opening to introducing the band tho. Good lyrics too actually. Very British. We are the pigs is not alt. This is just a good rock song. Love the horns. Again really good lyrics. Nice subtle guitar riff too. Heroine is def more alt. Still not bad tho. I like the guitar and bass line a lot. Just bs vocals. The wild ones is really alt either. Again I’d classify this as regular rock. Good songwriting and vocals on this one. Really good guitar. Daddy’s speeding however is very alt. Good piano. You can feel the emotion in this one. With that being said, not for me. Not a fan of the end at all. The power is better. Still angsty and alt br much better musically. Love the strings. Back to regular Brit rock with new generation. I like the horns a lot. Production as a whole on this album has been really good. Cool guitar riff on this Hollywood life. Good lyrics too. Awesome guitar solo. Best of the album so far. The two of us is fine. It’s forgettable. Cool piano tho. Black or blue is way too alt for me. Don’t like this song at all. Asphalt world is much better. I like the guitar a lot. Def alt but a good blend of alt and normal. Good lyrics. Love the middle part too, just an awesome musical solo. Not sure why this wasn’t the last song. Still life is different than anything I’ve heard so far from this album. Not my style but not a terrible song. Cool production again. Production is the star of this album. Just good background tracks throughout. Overall, it’s another “alt” album that beat expectations but this wasn’t the regular angsty alt. No all timers but no terrible songs either. Better than JAA for sure. Worth one listen. 3.4/5 stars.

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

MORE BRITPOP??? I’m not even saying this album is bad yet, as of writing this first section I haven’t listened to it, but come the fuck on. There’s only so much good Britpop can produce. And yesterday’s VERY Britpop-adjacent album sucked ass. Thankfully, opener “Introducing the Band” does a great job of telling you that this is actually gonna be pretty great. Good lyrics, alright instrumentation, interesting vibe. Then “We Are The Pigs” comes in and burns down the barn. Those horns… that bassline… those drums… the vocals… it’s great. “Heroine” is so well written musically; catchy, sharp, incredible guitar tones and vocals, it’s all so good. For most of this album’s runtime in fact, it surprisingly does not let up in its awesomeness. Even in the later parts, where I should be getting tired, songs like “Hollywood Lie,” “The 2 Of Us,” and “The Asphalt World” keep it from being bad! Even though “Still Life” gets to a point of cheesiness what with its bombast and theatricality and all… the line “there by the window, quietly killed for you” keeps it from ruining the rest of the album. It’s kind of crazy… even though I was so pissed to get yet another Britpop joint, this might be my favorite one yet. 10/10

7.5/10

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.

tönt gut, aber nach einer halben stunde auch gleichförmig.

Nichts das in Erinnerung bleibt

Art rock, bowie and smiths We are the pigs The wild ones

I get that the band was in a transitional state, and that they wer big in the UK, but this is... not good. You can't open up with that sludgy stuff, and then give me an hour of, let's face it, sub-average Britpop. There's a reason this band is relatively unheard of here in the States. The guy sings way above his range half the time, and it's just not remarkable. You can hear the band falling apart in real time, and the album never recovers from that fracture. There are moments where the music is beautiful, but then the singer starts up. And "Still Life"? Get off the stage, you ponces. You're not that good. Dimery, go suck eggs. My Rating: 2/5

This was pretty good. More like a 7 than a 6.

Meh. 2/5

3.5/5 https://rateyourmusic.com/release/album/suede/dog-man-star/ I think I'd be able to like Suede a lot more if I give it more of a chance. Their stuff sounds like the stuff I would like (Bowie??), but it just takes a bit more effort to really get into, and I just never seem to feel like giving them that effort.

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

Finding out that a band I've never heard invented Brit Pop only to be overshadowed by bands I do know. That they were so disgusted with the genre they started they turned around and wrote this album, that I have also never heard of. Then on tour their support act, The Cranberries, blew up and started to steal the spotlight. This is a great story. Clearly they had some influence on the UK music scene, but not how I think any band would want. Not much on this album for me to be excited about. I like that they're trying for a deeper sound and style than most 90s rock. It's like they want to be Bowie or Pink Floyd. They don't quite reach it, but I like the effort.

Washed over me a bit. OK album. Found the reverb on everything a bit wearing at times.

This guy listened to Bowie and wondered what it would be like to copy it, but with even more reverb on the vocals and without the hooks.

Well i went back to look at what I said about these guys first record to see the evolution and I would have to say there is some kind of change here. I didnt have much to say about the first but I have more yo say here. Sadly I think im saying alot of the same things. I pretty much said eh before and for this i have more of a eh*. I get the British pop thing they got here more. I was looking more for a new wacy thing then. I would put the comp more on oasis or even radio head. Too bad I dont reallt care too much for either of those bands. Especially radiohead. They are fine and that would be it if people didnt freak out about them. And here I feel the same without the over reaction. I haven't heard of these guys and that helps. Its just good or decent 90s pop rock. And thats it. Its fine. Im not blown away by anything. And im not pissed to have listened to it. It just goes down smooth enough and im off to the next thing. I just dont see myself coming back to anything besides heroine. Thatd the only save i got. I could have had more but nothing was worth it. It was just short of being good. Maybe 3rd times a charm but this is just OK.

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.

é meio glam, lembra bowie de uma fase que eu não sou o maior fã, então no geral, achei dificil de digerir

po esse aqui FEDE a david bowie (elogio). achei que seria bem pior e foi até que decente. não eh mto meu rolê, mas eh bem feito, meio glam e tem umas guitarrinha massa

It's decent. It's not bad at all but I just cannot begin to understand the album. It's very inconsistent and nothing really stands out from this. In fact, spotify's algorithm recommended me another song similar to this (you know how that works) and I didn't notice it was a different artist. Still, it is not all to bad, you can definite vibe to this (from time to time).

Suede isn't a bad band but this is a bad album.

There are times listening to this that I think I really like this, then it steps into something and no I really don't, and this continues till the end. 3/5th of it I really liked, Bowie pop Rock glam influenced, good guitars and keyboards, nice melody and then there is the Smith love, pretensous wailing whatever that is. Sad dreams on cold morning indeed. founding fathers of Britpop that got left behind, and from this record I can see why on both accounts. It's a fair listen and some tracks would happily return too but as a whole not so much. So middling, 3 star

Favourite Songs: Heroine

3.5

2.5

When to listen: I love that a reviewer said "when I want to pretend I'm at The Bronze" so I'm going to go with that. I enjoyed this album more than I thought I would, especially the first half. Liked the song "Heroine." But that said it was a bit repetitive and didn't feel like... revelatory.

Hab alles wieder vergessen

Fine album

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

ok

Interesting collection of art pop. Quite refreshing. 4

Yer Da unironically listens to Suede

Really sick of having to listen to pretentious British wankers during this challenge.

This was way too long for how boring it was. Still significantly better than Mariah Carey’s bullshit though.

cool nice very good buttcheeks very nice

Started awful. Grew on me. I might need a relisten because apparently the stereo I was listening on had the bass up and the treble allllll the way down so everything sounded like mud. Either way yet another indie British band no one ever heard of on this damned list.

This came out of the blue. Loved it.

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"

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.

4.75

Not a bad album, just kind of generic rock for that time period.

Quite flat music that just meanders along. I am a bit disappointed.

Meh... Nothing new here? Feels stuck between things that came before it and things that would come after it. Admittedly alt-rock is very much not my jam until it is. But this is not.

I actualy kinda liked this album when I listened to it a couple of days ago.

Sorry… a couple tunes felt like the 90s hey day… the rest of the album fell flat for me. 2.4.

This is a long album filled with pretty long songs, and I can’t remember anything about it even though I just finished it. It’s just not memorable or catchy at all. But it was never unpleasant, if that makes sense? I will say, the above is not completely true. I do remember being surprised at the swelling prog stuff at the end. I really liked that, but it wasn’t enough to save from the rest of the meh. 3/10 Ho Hum

Sounds like a musical

I enjoy dark and broody but there wasn't very much vocal change throughout this album. The melodies were subdued and the voice felt a bit like it was trying to sound like someone else. So although it was pleasant to listen to, it didn't do it for me. But Still Life is a surprisingly good song towards the end of the album. Maybe this album is starting to make sense for me.

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.

good

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.

Toeing the line between annoying and fine.

Another reasonably good band playing potentially interesting tunes that are basically ruined by a Morrissey imitator.

Decent.

I did like it. It felt like it was doing a lot and I greatly respect it for that. And yet, with all this grand instrumentation and all these tools, I feel like it's not the sum of its parts. Like I enjoyed that it aimed for the moon and landed amongst the stars, but I wasn't really along for the ride. It's Britpop with a little more personality, I suppose. Fav tracks: Daddy's Speeding, The 2 of Us

Another day, another Britpop album... At least this has some name recognition. On American Spotify, they are referred to as "The London Suede", which sounds even more pretentious than "Suede" does. The actual album is Britpop, but with a shoegaze influence. The lyrics are OK, but the vocalist sounds like every other shit Britpop vocalist. This is clearly trying to do something more interesting with the genre than Oasis, but it doesn't quite pull this off. The songwriting is very mediocre, and a lot of it is overblown. That kind of makes this a nothing album, not bad but not good either. This album is ranked #20 of 29 albums for 1994 by global rating. Other 1994 albums previously rated by me: Dookie(2/29)-4 Dummy(4/29)-5 Illmatic(7/29)-5 Ready to Die(11/29)-2 Live Through This(13/29)-4 Protection(15/29)-4 Talking Timbuktu(17/29)-3 Music for the Jilted Generation(19/29)-4

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.

This sounds like a lost David Bowie album.

Проблески нормальности здесь есть, но в целом какие-то оперно-восторженные запевы

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*

erm sommige waren wel ok sommige waren echt ecth heel slecht wrm was zn stem net als david bowie... het was gwn slecthe bowie

dit was chille rock en ook al zegt lili-cai dat dit klinkt als bowie klinkt hij niet als bowie.

It sounded horrible and that was the remastered version. Whiney 90s Brit rock

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.

Yeah they're cool

It wasn’t bad but it wasn’t exactly good either

⭐ ⭐ ⭐ ⭐ 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.

Started slow and generic, and turned into a fun rocl album with a lot of very strong songs at the end.

Lots of pausing because I was at the office. Not ideal listening conditions.

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

Familiar in a derivative sense. Something very essential in these songs makes them alluring

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

This barely sounds like Britpop to me. 𝘋𝘰𝘨 𝘔𝘢𝘯 𝘚𝘵𝘢𝘳 is far darker and more theatrical than most albums associated with that scene, almost like it’s trying to escape the label altogether. The whole thing has this grand, glamorous atmosphere, but underneath it there’s also something tense and strangely detached. I do admire how committed the album is to its own mood. It never sounds casual or lightweight, and that gives it a strong identity. At the same time, I don’t fully connect with it emotionally, even when the album is clearly reaching for something larger.

Pretty average, not much to say here. I did find that points of this album felt very tedious to get through. It's a long album with not enough variety to justify its length. It gets better towards the end, but then again I think I was just more excited to be able to listen to something else once it was over. Fav Track: The Wild Ones

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

toooo long, clanky, too long! this was Fine. mostly inoffensive, but it did drag. the uptempo tracks were fun, but the ballads dragged hardcore.

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)

Pretty standard britpop, but dont call them britpop!

What I would presume to be the love child of Oasis, The Smiths, and David Bowie, Suede’s Dog Man Star was better than I anticipated (if you’re having trouble locating the album on Apple Music, search for The London Suede instead). It absolutely feels and sounds like 1990s Britpop. The downside is that this feels like another selection from a heavily English-leaning conglomerate of music critics determined to pack this book with as many lesser-known or completely unknown artists and bands as possible, as if they needed the final word on music history. The album itself came across as a tad pretentious, and the cover art made me expect something considerably darker than what the record actually delivers. However, there were a few tracks here that genuinely elevated the album beyond the ordinary, especially “The Asphalt World” and “Stay Together,” which were worth the price of admission alone. That being said, I don’t really see myself returning to this album again, whether intentionally or just stumbling across it in the wild. But stranger things have happened.

There's a stench of conceit all over this album. It makes every song arrogant and a little less enjoyable. It's as if they're trying to make a record for everyone else, not themselves. I can just hear these guys in an interview saying "Listen to how good we are. Even Bowie would praise us." Even with that cloud hanging over it, I didn't hate this one. I wish someone would have kept these guys away from the reverb though. The vocals rely so heavily on it that it became distracting for me. If you're looking for an early 70's David Bowie album that's not as good as his other albums, this one is for you.

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.

A bit long-winded but sometimes transcendent.

Haven't listened to the band fully before. Great songs and energy throughout, liked every part of it. It was long but not taxing. Essential listening.

Started as two stars, but the longer it went on the more I was ready for it to be done.

It's an improvement from Suede's self-titled debut. There are more songs I liked on "Dog Man Star". The first few tracks and "The Power", which is my favourite, come to mind. Unfortunately, "Dog Man Star" has some lacklustre tunes. "The Asphalt Road" is just there to pad the album out. 3 stars for "Dog Man Star".

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

Does not age well like Suede

Weird

I remember this band well from the 90's and for some reason I was never that attracted to it. I have listened to the records and seen them live in 1995 but it just didn't hit me. Now listening to this album brings me in the sonic landscape of 90's guitar driven Brit pop/rock with all the echoes, fuzz pedals etc. Unfortunately this still doesn't talk to me. Halfway through the album I find myself thinking of something else, none of the songs has felt anything else than some background sound. I'll try more later. Sorry, just not my cup of tea. I appreciate the sound of the times, but I don't care for these songs, that's why no more than two stars.

Good stuff

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.

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

нету на спотифае, пора покупать youtube music, хватит это терпеть. ВОТ РАДИ ТАКИХ АЛЬБОМОВ СИДЯТ НА ЭТОМ САЙТЕ We are the Pigs This Hollywood life ну ладно я сильно забайтился но за эти треки можно троечку накинуть

Pretty mid wierd alternative stuff I don’t mind it but it was a bit boring

Released on Nude Records and the cover shows a man nude. 3/5

This was pretty cool actually

It’s ok. Never really listened to Suede and thought this opened with promise but couldn’t get into it. Bit noisy, a million reverb. Probably won’t choose to actively listen again so a 3

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

Listening to this album in the year 2026 I think robs it of any cultural impact it might have once had. It sounds dated with it's thin production, overly reverbed out vocals, and mid-90s guitar tones. But that's not the only element I have with this album. The songs are long and dragged out, Brett Anderson's vocals are fairly grating, the mix is absolutely awful with the drums practically drowned out most of the time and the guitar solos are mixed way too out front, the ballads are hokey, and the songwriting overall feels like they needed to do some self-editing before putting things to tape.

A very decent dramatic britpop album with some touches of glam rock. What shines the most in this record are the extravagant and kind of operatic vocals. I'm usually not a big fan of this style of singing, but I think the singer did it really well in this instance. It can be a bit over-the-top at times, but it blends well with the kind of dark tone of the album, specially in the more grandiose parts, like the ending "Still Life", and also gives the record a great amount of personality amongst other bands from that time. In terms of instrumentation, I think it is great. Not as notable as the voice, but decent nonetheless. The guitars are very distorted with some nice riffs, as expected from Neo-psychedelia, and there are also a lot of ballad-like moments with orchestral arrangements, acoustic guitars and pianos to make emphasis in the predominant sad mood. One of my favourite moments are the pianos in "Daddy's Speeding", which create a very haunting atmosphere. So overall, a decent album, even though I wouldn't say it is incredibly memorable or impactful,

Okay. Fine

On some songs they're just Bowie wannabe's

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!

Too britpop/glam for me, but still interesting-ish.

Ok, but abit boring. The guy singing sounds a bit like Morrissey at times.

- 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.

Not feeling it

Cool album cover art

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

Not for me

By chance, I had listened to their debut just a few days before this was generated for me. And... They're not bad. Some clever guitar licks and riffs, and they have certainly listened to a fair share of Roxy Music and Bowie. But Suede doesn't grab me the way I feel they should whenever I read about them. Also, on this, more than on the debut, the voice really annoys me because it constantly tries to do an impression of Bowie being dramatic. Which gets old quickly, and which Bowie pulled off better, not least because he wasn't overusing his dramatic voice.

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

Wankers

Decent album.

Sounded like at least 30 other albums I’ve heard on this list

Decent enough album but it just got a bit boring after a while, by the asphalt world I was hoping it would end soon

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.

2.5

Some shining moments along with some duds.

Not bad at all, some great tracks here. 3.5 stars

a 2 and a half hour album MY ASS

#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.

Mit Britpop und mir wird das nichts mehr...

Dog Man Snooze

Really thought I wasn’t going to like this but it grew on me.

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

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.

The last song on this album was absolutely cracker. There were some generally more pleasant songs focusing on the piano occasionally. However, most of it was the grungy (meaning more of a general descriptor rather than of the music genre) rubbish that their other album on here consisted entirely of. So it can have 2 stars from me, but much better than their other album (but this one was longerrrr)

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

Like a slightly more upbeat The Smith’s. Didn’t really do it for me. Another kind of boring British post punk album. 2/5 Won’t listen again

Solid britpop altrock vibes

Dit voelt als een soort gothische rockopera. En ik ben er nog niet helemaal uit of dat een goed teken is of niet. Kan niet zeggen dat ik een enorme ervaring heb met opera, laat staan een gothische rockopera. De zang is goed I guess? Het is heel erg musical achtig en hoewel ik daar normaal echt een pest hekel aan heb vind ik het hier nog wel meevallen. Muzikaal is het prima. Het is altrock, met af en toe een pianootje. Misschien merk je het al een beetje aan de review, maar dit album is totaal niet blijven hangen. FAVO? Geen idee, ik zou je denk ik geen nummer los kunnen noemen en als je nu het album opnieuw zou afspelen denk ik niet dat ik iets zou herkennen. Tsja... Dit album is prima, niet echt een must-listen, maar het was vermakelijk genoeg dat ik me niet heb zitten irriteren ofzo. Gewoon een ontzettend beige album als je het mij vraagt. FAVO: The Asphalt World

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

Couple of really good tunes but a lot of mediocre ones

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

It started off fairly weak but got better over time.

Enjoyed this aye

good

Reminds me of David Bowie backed by guitars with 90s effects, but in a very bad way.

Didn't mind this, knew of their stuff, but none of these tracks. Nothing groundbreaking, but listenable.

Sophie - I wouldn’t call this my favourite thing ever, but it was enjoyable enough. Kind of Bowie like at points. I can’t even tell if I knew Suede before this or not. Either way, this album was on the better end of ok for me. 3/5

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

*1994. English alt rock. *Sounds like Midnight Oil, REM, Bowie, and Psychedelic Furs combo. *More 80s-sounding than 90s. *Some decent songs here and it was fine the background, but I wouldn’t revisit this. RATING - 6.5/10

To be honest I got quite bored with this. Like it was fine but nothing special

2,9/5

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

this was fine. still life was fucking incredible but unfortunately it was one song on an album lasting over an hour. nothing all that wrong with the rest of it, just a bit forgettable.

A few tracks are not bad, but this won't get a second spin by me.

For something released in 94 it sure sounds like it came out of the 80's at times. There's definitely some musical talent here, but this largely didn't work for me. There's probably an established term for this, but it sounds like "malaise music" to me. 2.4

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.

2.2 Didn't click with me at all. There were shades of bands/genres that I do like I'm there so I'm surprised I didn't, but man I was excited for it to end. Epitomises the worst of 90s Brit pop/rock

There are albums which I don't quite get at first listen but which I nonetheless feel compelled to listen to again. This was not one of those.

boring mid-90s easy rock with some annoying piano bits.

3,5

Biiiig album. Probably not quite my cup of tea but really good at what it is. New Generation and The Wild Ones particular highlights.

Bad

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!

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

Suede har några väldigt bra låtar men inte så många som stack ut på just detta album. Men mestadels trevligt!

I thought this album wasn't the most exciting, but maybe if I listened to it again, I could find reasons to enjoy it more. I actually thought the last two songs were quite possibly the most interesting songs on the album, so I'm glad I at least stuck it out, but on the whole the album was just alright.

It’s not my taste but I appreciate the grandiosity. Each song was enjoyable but It just didn’t really land with me… nothing drew me in

minimamente interessante, chato sonic youth é a mesma pegada mais legal 2.5/10 ordinário

The lost demo tapes of a fever dream where David Bowie joined R.E.M. Also quite long! And it takes itself very seriously. There is some novelty there but it wears off quickly and by the final 3 songs you’re left with the same feeling as “…maybe I am too tired for this concert tonight - I should have stayed home.”

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.

Perfecto

Nothing brilliant.

First couple of songs were good but it didn’t do much for me after. Not really sure why it’s on this list

Un genre que je connais peu (britpop), une jolie pochette. Je suis intéressé Je me fais chier et je retiens aucun son, je commence à questionner la légitimité de l’album sur la liste The power a un refrain pas mal, mais je l’ajoute pas à mes titres likés non plus. Je vois la ressemblance avec bowie. Je préférerais écouter bowie. The 2 of us est jolie, bonne mélodie La dernière, still life, est grandiloquente mais marrante, plutôt bien

Suede is challenging in ways that other Brit pop is not. I can't quite put my finger on it, but there is a lot I like here, and then there's something else going on that just turns me off a bit. Maybe it's the overrepresentation of ballads on this album? It feels like at least half of the songs fall into that category. And then the last song is the most overwrought, London Symphony Orchestra-abusing thing I've ever heard. The whole album reminds me of Use Your Illusion. I don't know. Maybe I'm crazy. THREE STARS

Meh

unimaginative

3.5 stars

Better than the usual britpop tbf but still meh

I remembered the name from the other album on this list and was not looking forward to it. My notes only said the singer had an annoying voice. Thankfully they improved their sound on this album and his singing became a lot more tolerable. Combined with some grandiose arrangements it became quite a solid album. The middle part drags it down though and sometimes it becomes a bit too much and over the top, the statements from the press about it being too pretentious make sense. 3,5 stars

2.5 stars

I had never heard of this band before. Interesting B grade Bowie sounding music.

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

Idk I didn't really concentrate listening to this

Its like David Bowie and King Crimson made a shitty album.

Last song saved album from 2

Tää Suede-levy on jäänyt vähemmälle kuuntelulle. Tykkään kyllä Brettin äänestä, mutta tältä puuttuu mun mielestä ne hyvät biisit. Vähän tasapaksu levy.

This sounds, at times, like a Spencer Krug starter album, but the slow songs are a major drag. We really need the ability to give partial ratings because this album is a 2.5 at best, but that gets rounded to a 3

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

coworkers knew about them, but actually forgot what the music was.

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

I mean it was a bit pretensions towards the end but it started out well enough

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.

For all the drama that was going on while recording this album I don't feel like it really showed in the music. The vocals and music really blended together seemlessly and the music was really good, which is impressed because the band seemed disconnected from the writing and singer. I read some reviews saying it was pretentious. But I don't get that he was trying to be pompous and or thought he was more important, more that he had a lot of emotions that he wanted to get out and he didn't want to spend time partying. Music was a release for him and didn't want to necessarily deal with fame. For the band they wanted to be famous and rock out doing something they were good at. Neither is wrong...in the meantime they made a decent album

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."

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.

3/22 Boring album

I woulda felt so cool listening to this in college

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

Is it the most generic and boring of all the Britpop albums on this list? Maybe. Still have a lot of those to get through. But this one was a snoozer.