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5 of 5 people found the following review helpful:
4.0 out of 5 stars
A great talent, June 22, 2007
It's a shame that Brett Anderson and Suede has gone under the radar here in the USA for 15 years. His voice moves me, and has aged very well.
This debut solo album is not a spectacular masterpiece, but I'm glad that he is still creating. His voice and poetry is a talent that should never be silenced.
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6 of 7 people found the following review helpful:
4.0 out of 5 stars
A lot better than expected, Anderson in fine form., May 6, 2007
I didn't expect much from this album. The last Suede album was pretty much a failure, and Brett Anderson's subsequent reunion with Bernard Butler met with a very underwhelming fate: The Tears were unceremoniously dropped by their label, after that label had failed to adequately promote them. (Which was unfair, in my opinion. I liked that album.) So it might seem like Anderson is grasping at straws by recording a solo album. All the more surprising, then, that it's actually pretty good. Much better than circumstances might lead one to believe.
Some years ago, there came a time when there remained only one way for Anderson to possibly remain relevant. He had to get rid of all the rock and roll excess, stop singing about drugs and debauchery, put on a stylish suit and lacquered shoes, and affect the melancholy air of a gracefully aging Casanova, who no longer has the enthusiasm for wild parties but nonetheless still possesses enough charm and wit to seduce the most desirable young babes. And that's exactly the style Anderson has adopted on his solo album. No more noisy guitar anthems for our hero. Now, it's all about the lovely minor-key violins, with occasional unobtrusive drums and keyboards. There are a couple of songs with guitar leads (and Anderson acquits himself quite well on the guitar, another surprise!) but they would have sounded like mid-tempo ballads on the first Suede album. The music here is very laid back. Occasionally it sounds kind of boring, but whenever Anderson breaks out those minor-key violins, he perfectly captures that mood of relaxed melancholy that he was going for. And his melodies are all pop-oriented and easy to like.
Our hero has also made some changes in his songwriting. This point doesn't come up so much in any of the reviews I've read, so I'll have to make it myself. Anderson's lyrics have really improved as of late. He no longer uses any of his favourite old Suede tropes. Not one song on the album contains the words "taxi" or "son." Nor does he repeat himself as much as before. Instead, he actually pens some evocative metaphors ("The Infinite Kiss") and descriptions ("One Lazy Morning"). The latter is especially great. Anderson lists a number of fun activities for a lazy morning, and somehow his choice of items conveys the right sense of comfort and laziness. This leads him to idly muse about the existence of a benevolent deity. That's hardly a deep thought, but it's not meant to be. He states it in a casual, relaxed way -- precisely the way that one might think of such a thing on a lazy morning.
Occasionally there are a few hilarious lines, like "No one really cares if no one ever shares my bed" (which is used as evidence that "Love Is Dead"), but there are fewer of these than before, and even there Anderson catches something of the mood of the times, when he says that "people pass by with fear in their eyes" and refers to "horrors" inside his head. Furthermore, he tries to write about different topics now. Of course, no one looks to Anderson for piercing insights, so it's a little funny to hear him condemn consumerism in "The More We Possess The Less We Own Of Ourselves," especially when he became successful precisely because of his desire to live the elite lifestyle. And "Colour Of The Night" has a very strange reference to the Holy Land. But on romantic topics, he sounds more convincing than ever. Now, instead of exhibitionistically flaunting his sorrow over a lost love (as he did in "The Wild Ones"), he expresses genuine regret. Once again it's perfectly in character -- even a rake has to settle down eventually.
And his delivery of his lines has improved as much as his writing. Around the time of that last Suede album, it seemed like he had lost his once-amazing voice for good. Even on the Tears album, his singing sounded strained. But here, maybe because of the more laid-back music, he sounds renewed. He doesn't go for those big drawn-out notes anymore, but his voice sounds very good within the range he's set. And he's relearned all of his classy dramatic affectations. The way he sighs in the chorus of "To The Winter" is to die for. The thing is, this is so precisely what he should be doing at this point in time. He should sound more world-weary and dignified, and the musical backing is perfect for this greater restraint. He should assert that love is dead, and sound like he's genuinely saddened as he does so. He should ask a young girl to "make me a bad man," with an innocence born of admiration for her youthful energy.
There is, of course, a bunch of filler. But it's pretty good filler, at least listenable and enjoyable while it's playing. So instead of embarrassing himself, Anderson comes out looking refreshed and ever so appealing. This isn't going to be your favourite album of all time, but I can't say anything bad about it either, and if you gave up on Suede by the end, you might find this a pleasant surprise.
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4 of 6 people found the following review helpful:
5.0 out of 5 stars
Brett has gone solo!, May 13, 2007
Brett's solo effort is a little different from what he has done in the past, he went from glam/acid/drug/Bowie rock to something a little more refined. This album is very easy to listen to, I really enjoy it. The key tracks on here are: Dust and Rain, Intimacy, Scorpio Rising, The more We Possess, and of course Love is Dead.
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