Brett Anderson Review

6.8/10

Suede sounds so British. They came out in the Britpop rush of the 90’s, and they sure sound like it. Although they were no Blur or Oasis, Suede does relate to nothing else but Britpop.

With his third solo album, however, Brett Anderson declares he doesn’t want to be associated with Suede. Well, Brett Anderson honestly sucked. It got stuck somewhere in between Suede and contemporary pop and ended up with a sound that doesn’t really go with the cover (yes, album artwork matters). Turns out Anderson did know that Brett Anderson went a bit downhill, and he did a pretty good job restoring his musical credit with Slow Attack.

I wasn’t really sure what I would expect from a mature Brett Anderson. I figured it wouldn’t be the typical Suede stuff. So I started blank. First thing I noted—more like freaked out over—was that it did not sound like Suede. Or, on that matter, Brett Anderson himself. The sharp annoying metrosexual voice is pretty much gone, although there are some places you can tell it’s the former Suede singer. In other words, you will never ever hear another “Beautiful Ones” or “So Young” in this album or, I suspect, any future album from Anderson. He’s made a statement: he won’t take magazine cover photographs in front of the Union Jack anymore. He sings more plainly, maturely, and calmly. This could be a good thing or bad thing depending on who you are. If you are a rabid Suede reunionist, you won’t like what this album shouts out: I am not in Suede anymore. If you are unbiased, there’s a pretty good chance you’ll like this album. If you are the kind of person who likes calm but not depressing music, you will love this album.

It was a pleasant surprise to hear classic instruments such as clarinets used throughout the album. As a lover of the clarinet family, I should adore Anderson’s decision to put an effective sentimental touch to the album with clarinets and, I believe, oboes. The minimum usage of the guitar makes me wonder whether he was trying to make a statement to his former guitarist Bernard Butler. Other than the oboes and clarinets, the instrumental arrangement is pretty standard with a guitar, drums, a piano, and strings. Anderson seems to put more emphasis on his voice. The sound is like cold air through the window on a winter morning—you know you are in a warm place, but it’s sharp and fresh.

The album is consistent, and with this style, no one would expect much variation. However, the placement of “Julian’s Eyes”—at all—detracts much from the overall consistency and atmosphere of the album. I would recommend cutting it off the album playlist. Ironically, it is the track that sounds closest to Suede.

Although the album is quite brilliant overall, Brett Anderson probably would not want to continue producing this style of music, as it will get old and sound the same as the listener deposits more plays. Anderson has proven he can be good and not be Suede at the same time. Now, we would like to hear more.