Suede (aka The London Suede) is a band that I didn’t love upon first hearing. I thought their self-titled debut was just… ok. Nevertheless, I grew to appreciate them more with each new album and upon return listens and further reevaluation of their previous outputs. So by the time of their fifth album, 2002’s “A new morning”, the album that would ultimately break up the glam rock, erstwhile Britpop outfit, I was a full-fledged fan.
My fandom continued to grow in their absence and thus, I was ecstatic when the group re-formed in 2010 for some concerts, thinking I might finally get a chance to see them live, and then, super-enthused when new material started appearing. I still haven’t seen Brett Anderson and company perform live but I’ve fully enjoyed the four albums they have released in the last decade or so and am looking forward to hearing their tenth album, released just today. The first of their post-reunion albums was 2013’s “Bloodsports”, an album that was a critical darling the world over upon release and got quite a bit of love by yours truly on my old blog, Music Insanity!
“And then I fall to the floor like my strings are cut
Pinch myself, but I don’t wake up”
The first single to be released from “Bloodsports” sounds from its title like it could be a straight-ahead love song, the stuff of fairytale wedding first dances. But hey, this is Suede we are talking about here. Like much of the album, it blends the best of what made their first three albums so great. “It starts and ends with you” is epic without being overwrought and glam without too much glitz and none of the saccharine sap. It is sonically dense, layers of razor sharp guitars and pounding drums. Brett Anderson is as cheeky and hip-smacking as ever, teasing both the good and the bad of being completely in love. Is it a healthy relationship or is it really catastrophic, destined to end in pain on all sides? You decide.
But while you consider, I’m just going to press play one more time, turn it up even louder, and dance in my bedroom like no one is watching.
For the rest of the Best tunes of 2013 list, click here.
(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)
Artist: Oasis Album Title: Time flies… 1994-2009 Year released: 2010 Year reissued: 2025 Details: 4 x LP, orange, green, pink, blue, 15th anniversary, RSD limited edition, 5363/15000
The skinny: In a parallel universe, I would be attending the first of two Oasis gigs at the newly constructed Rogers Stadium in Toronto with a handful of old friends tonight. The risk in procuring tickets over a year in advance of a gig is that there’s always a possibility that your circumstances could change. In this case, they did change and I needed to give up my ticket. But no fear, I take small comfort in two things. First, that I have seen them already once before*. And second, that I managed to procure this special Record Store Day, coloured vinyl, 4 disc box set reissue of their 2006 ‘best of’ compilation “Stop the clocks” from an online indie shop earlier this year. I’m not always convinced that compilations are the way to go, especially when I already have the best of the artist in question’s albums in my record collection. However, I made the exception for this one given how pretty it looked and that it included a couple of great tracks that I was still missing on vinyl, most importantly, the amazing non-album single featured below. And I’ve listened to set this a few times since it arrived and with all these great tracks, back to back, there’s been no regrets. For those attending tonight, I bet it’s going to be a great show, no matter their setlist, so please enjoy for me.
Standout track: “Whatever”
*That infamous gig at Virgin festival 2008 where a ‘fan’ ridiculously hid under the stage the whole day only to leap out while Oasis were playing and push Noel Gallagher from behind.
I started this particular countdown and mini-series back near the end of May and if you’ve been following along, you might have guessed this album would end up at the top, simply by the glaring absence of its mention thus far. “Violator” by Depeche Mode is quite simply, no question, my favourite album of 1990. And if it isn’t yours also, it should be. Wink, wink, nudge, nudge, say no more.
I’ve written about this album, and a handful of the songs it contained, many times over on this blog, so I will do my best not to repeat myself too much here. Indeed, I even decided just before sitting down to write this post to change up the original three requisite picks that I had previously selected, partially because a couple of them were obvious, but also because “Personal Jesus” and “Enjoy the silence” had both already received their own posts and also joined “Waiting for the night” in a post that counted down my top five favourite Depeche Mode tunes from the 1990s. So yeah, if you’re math is en pointe, three of my favourite tunes during the band’s (arguably) most popular decade in existence are on “Violator”, not too shabby for an album with only 9 songs. And for me, it wasn’t at all difficult, to find three replacements. It’s a solid album from open to close.
Produced by Flood and recorded in a handful of studios in Europe in the latter part of 1989, “Violator” marked a shift in the way in which the band recorded. It was more collaborative. The demos provided by principal songwriter Martin Gore were less complete, which allowed for more input by the rest of the band. The results were a bigger sound. Some might point out that it has a more pop bent and that it was more radio friendly and hit ready. Indeed, many of the tracks were released as singles and received airplay on both sides of the Atlantic. However, I would rather like to think that it was just that the buying public had finally caught up to what the quartet from Basildon, England had been peddling all along.
“Violator” is where I came in. I had actually heard “Personal Jesus” (as well as “People are people”) before I knew who Depeche Mode were, the cassingle of which was passed to me by a short-lived girlfriend at the time. But then, my friend John dubbed his CD copies of “Violator” and “101”, the double live album for their previous would tour, to cassette and I fell in love with both. I played the hell out of those tapes, to the point where I can’t hear any of the songs on either without immediately after listening, starting to hum the beginning of the next song. “Violator” is one of the first albums I bought on CD and was definitely the first record by the band that I sought out* when I started collecting vinyl again ten years ago.
“Violator” is accessible but it’s also dark. You can put it on at a party and people will sing along and it also feels right at home when played in solitude, in a darkened room, candlelight catching glints off the glass of red wine. Each song is practically perfect. Orchestral in scope but almost completely electronic. It is full and intense but it is also quiet. It is majestic and beautiful. It is uplifting and heartbreaking. It has kept me company at many points my life like a good friend should.
If you’re familiar with “Violator”, you’ve probably been nodding along as you’ve read these words. If you’re new to this album, I almost envy the possibility of experiencing it now for the first time. You could listen to any of the nine tracks as a teaser or as I mentioned above, start with the three that I’ve selected for you (that I’ve yet to write about on these pages before). Enjoy.
“World in my eyes”: “Let me take you on a trip around the world and back, and you won’t have to move, you just sit still.” These are the lyrics that open “Violator”. It’s like the band knew, like they were warning their fans and other unsuspecting listeners that they were about to be taken on an unprecedented voyage. The fourth single to be released off the album is said to be a positive and uplifting one. Perhaps odd in the group’s catalogue in that it paints love and relationships in a positive light. Its austere and overpowering opening sets the tone for the album, electronic like their previous work, but a lot more tactile and immense. This is music that is made for earphones. And it really does fulfill the promise of those opening words. It transports you elsewhere, not necessarily where you expected to go but they make it worthwhile.
“Policy of truth”: “It’s time to face the consequence for delivering the proof, in the policy of truth.” The third single released off the record was another big hit for band but actually sold better in North America than it did back home, a rarity for Depeche Mode singles. The song employs the use of guitars, notably in the intro and more obviously the slide guitars at the chorus, but in each case, the sound is modified and fed through synthesizers, sounding by turns like drills and presses. The result is a rock song feel but one with nothing organic about it. Frontman Dave Gahan is undramatic in his delivery, honest and upfront about dishonesty and the pitfalls of truth. Bolstered by Martin Gore’s backing sonics, the vocals become a dichotomy, deep and full, drenching the austere with sweat and blood.
“Clean”: “I’ve broken my fall, put an end to it all. I’ve changed my routine now I’m clean.” If you haven’t felt haunted throughout “Violator” already, the closing number might just do the trick. The pounding rhythm sounds alternatively like a heavy footfall and the thumping of something heavy and inert being dragged down a long staircase, echoing into the abyss. Much like elsewhere, the environment is vacuous. The band seems to be performing on another plane. It’s a soulful blues piece performed for aliens and robots. The mists are so heavy, they are impossible to clear. The distorted monk drones provide a backbone for a sinner repenting but fully knowing he will offend again. He claims he’s clean but it’s empty. Hollow and haunting and plodding infinitely. And it’s oddly beautiful, breathtakingly so. Like this whole record. It begs to be played on repeat.
*But second one that I found and bought.
And so that ends another great countdown of great albums. In case you missed the previous posts, here are the previous albums in this list:
My (life in) music lists 