mercoledì 24 marzo 2010
Suede "Dog Man Star"
Eccessivo, barocco, visionario, pomposo, crudele, scabroso, romantico, lascivo....e quanti aggettivi ancora potrei trovare? Eppure...eppure credo che la perfezione sia qui...(1994 Nude)
L'enfasi melodrammatica di Butler e` incontenibile su Dog Man Star (Nude, 1994). Ma anche gli arrangiamenti sono spinti all'eccesso. Il risultato e` che i Suede sembrano proporre un ponte fra progressive-rock e rock sinfonico, fra Genesis e Jim Steinman, naturalmente sempre passando per il glam-rock (We Are The Pigs, fin troppo eroica e strillata istericamente, New Generation recitata sull'attenti a ritmo marziale come nel vaudeville piu` teatrale, l'aria operistica di Black Or Blue) Se il lied pianistico dai sovratoni espressionisti di Daddy's Speeding e quello dai sovratoni decadenti di Two Of Us ripetono per la millesima volta la parte di Ziggy Stardust, La lunga The Asphalt World rispolvera i primi Genesis. Gli esperimenti si moltiplicano: i riff contorti e ciclici di Heroine, la distorsione fragorosa di This Hollywood Life, l'apoteosi sinfonica di Still Life). Se melodie sempre piu` stucchevoli ripetono all'infinito un artificio che non poteva durare piu` di un singolo, gli arrangiamenti fanno in modo che invece quell'artificio diventi un meta-genere. L'esagitato smaniarsi di Anderson sembra quasi una parodia di Bowie, e le musiche gli tengono dietro. (Piero Scaruffi - http://www.scaruffi.com/)
After the party – the hangover: One year on from the louche-but-rocking debut, Suede had begun to irrevocably fracture at their very core. Luckily, out of such travails are great works of art born.
By this point the chemistry (in all senses) was becoming a little strained. Retreating into a drug-assisted solitude, Brett Anderson’s lyrics were less concerned with the politics of modern love and more with the effects of the morning after. Solitude, paranoia and self-loathing were the themes here. When he sings ‘If you stay we’ll be the wild ones…’ it’s with a quiet desperation that’s clinging to a lifestyle that’s gone horribly wrong.
The downbeat mood pervades everything here. Even on peppier rockers like “The Hollywood Life” or “New Generation” the guitars of Bernard Butler here sound more spiteful, suffused with a vicious metallic edge. It was here that they formerly parted from the Britpop pack as well (‘I don’t care for the UK tonight’ sings Brett on “Black And Blue”).
At the heart of this album is the real-life drama of Anderson’s and Butler’s increasing alienation. Before the album had even been mixed the pair, once touted as a Lennon and McCartney for the post-E generation, had split. Butler subsequently told of how he turned up to the studio one day to find all his equipment outside the locked door.
Yet, while Dog Man Star stands as a testament to the destructive power of thrill-seeking love and ego-bloating drugs it remains a far deeper and sonically adventurous ride than its predecessor. There’s still a huge dollop of Scott Walker-meets-Bowie-in-the-streets-of-Soho-at-5-in-the-morning archness that can grate. And Anderson’s melodrama can be slightly over-egged on tracks like “The 2 Of Us”, yet with its reverb-drenched lushness and fabulously melancholy audio verite ambience (virtually every track is prefaced by or marbled with some low-key moodiness that recalls Talk Talk’s golden period) it’s an album that continues to fascinate and reward: It’s possibly their least dated work.
While the band struggled heroically (and succeeded) to consolidate their success after Butler’s departure the legend of the band’s lost potential really stems from Dog Man Star. Never had misery sounded so alluring, reaching out to all the lonely urbanites that ever woke up alone. For this alone it remains timeless. (Chris Jones - http://www.bbc.co.uk)
- Introducing the Band
- We Are the Pigs
- Wild Ones
- Daddy's Speeding
- New Generation
- This Hollywood Life
- 2 of Us
- Black or Blue
- Asphalt World
- Still Life