Album Review: Suede - Bloodsports

Suede
Bloodsports
Rating: Grrrr

When Suede's last album A New Morning came out in 2002, the lukewarm response from fans and critics alike essentially killed the band, seemingly for good. Their first two records, Suede and dog man star, were fueled by tensions between singer Brett Anderson's rock star excesses and guitarist Bernard Butler's more reigned in personality. After Butler left the band, the resulting records Head Music and Coming Up were more fueled by drugs and Anderson's almost suicidal need to live the life of a rock star. The inevitable come down from all that resulted in their most toothless record, one that almost faded into the background. In the interim, Anderson worked with some other artists (including some work with Bernard Butler), released some solo material, and also reissued Suede's first albums with the assistance of Butler. In 2011, Suede quietly got back together again and toured in support of the reissues. I was fortunate to see them perform at Coachella that year, and even without the drug soaked excesses of the past to fuel him, Anderson was a commanding presence on stage, showing everyone in attendance what it meant to be true rock star and front man. Against all odds, Suede are now back with Bloodsports, finding original producer Ed Buller back behind the boards, giving this project a much needed focus and burst of energy. This record bursts forth from the opening chords of "Barriers" and pulses with life up until the final notes of "Faultlines." As with David Bowie's new record, perhaps it was a good thing to take a step back and regain the urge to record again. This record is not just a return to form for Suede, it is one of their best records.

Suede have regained their sense of drama and excess (within reason of course) and feel like they are truly putting together songs rather than just ideas of songs. From the skyscraping power chords of opening tracks "Barriers" and "Snowblind" there is no doubt that Anderson and Co. are back with some of their most focused material in years. First single "It Starts and Ends With You" is classic Suede, with crisp guitars and catchy hooks, Anderson in full lyrical swagger with lines like "And I've worn so many faces/shot my love at fifteen paces/my inheritance is all the thoughts I can't sweep away."



And the album just grows in stature as it progresses. "Sabotage" is the best track on the record, and one of Suede's best songs period. Soaring synths and guitars wind around each other as moody drums and bass propel everything to the killer chorus. Anderson's view of love and his lover as bleak as always: "No barriers, no boundaries for her/her touch is like a raven's shadow/Alone in the climate of her greed/her love is the shape of mother/her love is sabotage."



Songs like "Hit Me" retain the sass and attitude of early Suede while still remaining fresh and clean.



Of course, while sleazy, brazen Suede tracks are always wonderful, they truly excel on the ballad side of things, and Bloodsports adds many riches to their deep coffers. Mourning guitars highlight a gorgeous vocal turn from Anderson on "Sometimes I Feel I'll Float Away,"



"What Are You Not Telling Me" yields a beautiful piano melody and one of Anderson's most longing performances,



while closing track "Faultlines" finds Suede hitting on all cylinders, creating one of their most dramatic tracks.



I'm always hesitant to listen to bands who come back after a long absence. There usually is a faint air of desperation or money grabbing behind such efforts, however, in some cases like with David Bowie, it just took time for them to feel inspired again. Here, Anderson and compatriots obviously felt like they had something meaningful to say and went for it, creating a brilliant album that showcases their talent and ability to make amazing music full of drama and tension. Bloodsports is a welcome return for a fantastic band.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.