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Brett Anderson and Mat Osman on Suede’s Discography

By Nevin Martell on April 13, 2011

 

Brett Anderson and Mat Osman on Suede’s Discography

Rather than our usual FILTER Five, and to continue our Suede Week tribute, we look to Brett Anderson and Mat Osman to dish and discuss the catalog of Suede, from their 1993 debut to 2002's A New Morning (the band's last before its dissolution in 2003).

A Suede Discography: With Commentary from Brett Anderson and Mat Osman

Suede (1993)

London was a touchstone for everyone in the band, so the album became about us being placed in this city of sex, drugs and poverty after living in these suburban satellite towns. London is full of a certain kind of arts professional—people in bands whose parents bought them guitars when they were 12 and went to state school. The sense in all of us was that we wanted to get revenge on all that as the underclass outsider punks. We wanted Suede to be a pop record in the way that The Pretenders’ “Stop Your Sobbing”  is a pop record. Mat Osman

Dog Man Star (1994)

We were competing with the great records of the past; that’s what we had to prove with it. I was trying to write without any boundaries. I was living in a bizarre house in north London, taking lots and lots of hallucinogenic drugs, and writing in a stream of consciousness about anything I wanted and pushing myself as an artist. Dog Man Star is a real testament to what you can create when you want to push yourself as far as you can go. Brett Anderson

Coming Up (1996)

It was a chance to do everything Dog Man Star didn’t and make a bright, communicative album. It’s like a pendulum: you go one way and then the other. I really wanted to make a straight-up pop record. We were listening to a lot of ’60s pop at the time and were very much inspired by the classic three-and-a-half-minute singles. Anderson

Sci-Fi Lullabies (1997)

We were lucky that we came a generation after The Smiths because they upped the ante. They were the first band whose singles I can remember buying for the B-sides. They made me realize that singles mattered and B-sides mattered. Our B-sides were never an afterthought, because it was all about the whole package. The single cover looked like the tracks inside and songs worked with each other. Sci-Fi Lullabies was a chance to bring together some of our favorite B-sides. Osman

Head Music (1999)

It’s a fantastic album, but it could’ve been a lot better if we had left a couple things off of it. I still don’t know why the hell we put “Crack in the Union Jack”  and “Elephant Man”  on there. It was meant to be an experimental record; we were trying to again push Suede in a slightly different direction. It was made with the right intentions, but it confused a lot of the fans. Anderson

A New Morning (2002)

The fact that we made this album is one of the things that I regret most about Suede’s career. The band would have been loved more if we had stopped making music before this. When we made it, we were very confused about what we wanted the band to be and where we wanted it to go. There was a part of me that wanted to make an electronic album and part of me that wanted to make a folk album. So we combined those elements and made a very confused record. Anderson

This article is from FILTER Issue 43