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The Blue Hour

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Suede’s third album since reforming in 2010 – and eighth overall – is an ambitious triumph, and shows they are still at the peak of their powers almost 30 years after they formed, says Tim Cooper. Suede vuelven a la escena musical por la puerta grande con “The Blue Hour”, su octavo disco de estudio, un disco que, pese a sonar más oscuro e inquietante que sus predecesores, mantiene ese pop cuidado y melódico que tantos éxitos les reportó antaño. Y es que la mayoría de los catorce temas que lo componen cuentan con unos estribillos repletos de magia y belleza.

Insomnia had me listening to it at 2am on 21 September (New Zealand time) when I guess the rest of the world may not have got their grotty little paws on it just yet. It didn’t grab me like that sacred moment when I first listened to Dog Man Star, and realised that I wasn’t the only one who both loved and hated the housing estate hopelessness of suburban England in the first half of the 90s. But it had me in a different way. They will (of course) be forever judged on Dog Man Star. That’s unfair, because DMS was very much of its time and times change. As a fan I’ve They will (of course) be forever judged on Dog Man Star. That’s unfair, because DMS was very much of its time and times change. As a fan I’ve changed too. I don’t want another DMS, and I guess Suede don’t want to make that record again either. It’s an interesting thing. You have to choose your weapon, you have to choose your battleground. Unless you narrow it down to something specific, what are you going to write about? Everything? The world? History? I’ve always tried to talk about the microscopic, because that somehow illuminates the macroscopic. When you’re talking about relationships between people, that’s an incredibly political canvas. I’ve never been able to write about ‘the big picture’ in an obvious way. There are very few artists that can do that. That’s what politicians are for. An artist’s job is to reveal something more mysterious than that. It’s not the artist’s job to give any answers, it’s the artist’s job to deepen the mystery and to pose questions. You have to choose your canvas to work within. In talking about a small part of life, you can reveal further wider truths. But no, no Brexit anthems – is that going to be your headline?” This is a new Suede, expanding on a sound that’s different to both the debut and DMS, and the post Bernard records. This is Blood Sports and Night Thoughts taking the next step. The Blue Hour is its own record but at the same time it works with the previous two releases in what feels like a whole. Dark, moody, and bloody fantastic. Richard Oakes has proved himself to be every bit as good as Butler ever was. And these last two albums also show that Brett was the beating soul of the band all along.a b Paine, Andre (9 July 2021). "Suede sign to BMG for new album". Music Week . Retrieved 9 July 2021.

SUEDE:: Banda anuncia novo álbum para setembro". Urge | Música, Filmes, Séries, Games (in Brazilian Portuguese). 30 April 2018 . Retrieved 5 May 2018.When I heard Life is Golden and then saw that it was sat in the middle of the record, I thought that it should have been the closing number like Next Life or Still Life. But it’s position at the centre is perfect. It’s an equal to Next Life and Still Life, yet at the same time is its own thing. For my money, it’s their best tune this side of Head Music. Brett is candid about his son’s influence on him in creative terms: “It used to be friends or lovers but these days my muse is my son. I see life through his eyes. I imagined a fearful world, the way that a child sees it, and in a way, this was a reflection of my own childhood.” God Brett is better than ever. His voice is astoundingly expressive, at full strength, pitch-perfect. And on stage, wait and see him move, smile, take the wand and orchestrate the cult. Clayton-Lea, Tony (21 September 2018). "Suede: The Blue Hour review – Orchestral manoeuvres with a spark". The Irish Times . Retrieved 20 October 2018. It builds up to a kitsch finale, Anderson indulging his Bowie fixation amid the swirling strings and harp of All The Wild Places (“Of all the wild places I love / Yours is the most desolate”) and The Invisibles, all lush strings and impassioned vocals, a Still Life for the second generation of Suede fans.

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