The Blue Hour

Product Information

The Blue Hour charted at number five on the UK Albums Chart, which is the highest-charting album by the band since Head Music in 1999. [20] The album has sold 27,396 units as of July 2021 according to the Official Charts Company. [20] Year-end lists [ edit ] Publication Suede saben que no van a volver a copar los titulares de la prensa especializada, no les importa; también saben que no van a conseguir nuevos seguidores, tampoco les importa, no los necesitan. Lo que en realidad han querido con este disco, es regalar a los que ya tienen, un nuevo puñado de emociones con las que poner nombre a todas las malas experiencias que hayan tenido, para hacerles soñar de nuevo. I find it everywhere. It’s everywhere in life. No one wants to hear about the nice things in life. It’s not that my life is particularly unpleasant, but I just find those things more interesting. That’s where the tension lies. It’s about the push and pull. No one wants to write about harmony. It’s dull. Well, I can’t do it very well so I choose not to.”

I don’t really know. I’m really cheered by the fact that our fanbase want to be challenged. They want us to do what we do best, but they want us to have a vision. There’s this popular notion that the record-buying or music-listening public are becoming his numbed, brainless entity. Possibly the mainstream is becoming like that, but it’s misleading to think of the world at large like that. There are a lot of people that want to be challenged and want the experience of the album. They don’t want to be humoured by a few anodyne pop songs. They want a journey.” Suede’s third album since reforming in 2010 – and eighth overall – is an ambitious triumph, and shows they are still at the peak of their powers almost 30 years after they formed, says Tim Cooper. Dark, moody, and bloody fantastic. Richard Oakes has proved himself to be every bit as good as Butler ever was. And these last two albums also show that Brett was the beating soul of the band all along. Photography By [Inner Sleeve Photography] – Brett Anderson, Ian Grenfell, Neil Codling, Paul Khera, Simon Gilbert, ZelwankaIt’s an interesting thing. You have to choose your weapon, you have to choose your battleground. Unless you narrow it down to something specific, what are you going to write about? Everything? The world? History? I’ve always tried to talk about the microscopic, because that somehow illuminates the macroscopic. When you’re talking about relationships between people, that’s an incredibly political canvas. I’ve never been able to write about ‘the big picture’ in an obvious way. There are very few artists that can do that. That’s what politicians are for. An artist’s job is to reveal something more mysterious than that. It’s not the artist’s job to give any answers, it’s the artist’s job to deepen the mystery and to pose questions. You have to choose your canvas to work within. In talking about a small part of life, you can reveal further wider truths. But no, no Brexit anthems – is that going to be your headline?” Harley, Kevin (October 2018). "Suede – The Blue Hour". Record Collector. No.484. London . Retrieved 7 September 2019. Expansive and ambitious, sprawling but reassuringly familiar, The Blue Hour is the work of a band who are comfortable in their middle-aged skins but have never lost the joie de vivre of their younger selves.

Turner, Luke (25 December 2018). "The Quietus' Top 100 Albums of 2018". The Quietus . Retrieved 12 September 2019. Offiziellecharts.de – Suede – The Blue Hour" (in German). GfK Entertainment Charts. Retrieved 28 September 2018. Despite all that strangeness, the album is quintessentially Suede, and in fact, it sounds like something the band had aspired to for years yet unable to reach until now. Every song will send chills up your spines, either musically or lyrically. Homewood, Ben (26 September 2018). "Suede poised for Top 5 entry with The Blue Hour". Music Week . Retrieved 9 December 2018. Which, on the strength of The Blue Hour – the third in a triptych that began, following their 2010 reunion, with Blood Sports in 2013 and continued with Night Thoughts in 2016 – won’t be any time soon. Suede 2.0 are not a heritage band by any stretch of the imagination.

Versions

Brett Anderson canta de nuevo a los perdedores, a los solitarios, a los amantes, a los que vagan a la deriva, sin embargo lo hace dejando siempre un hueco a la esperanza y a la redención. No está todo perdido, Life is Golden. “As One”

Few things in the musical calendar are quite so intriguing as a new Suede album, and this has been as much the case in their second act as in their first. They may have been lumped in with the Britpop movement, but it was something they always seemed to see through. They saw through its lumbering blokishness, its boorishness, its groaning, lead-footed, sing-a-long choruses. Suede were of a different color. Yes, you could hear a bit of Scott Walker and the odd Bowie-ism in their sound, but everyone has influences. Not everyone transcends them. Suede did and still do. Excellent single ‘Life Is Golden’, whose video captures the abandoned post-apocalyptic town of Pripyat after the Chernobyl disaster and which soars in the same way that ‘The Wild Ones’ did, is a perfect example of where Suede are at in 2018. Having turned to producer Alan Moulder to collaborate with, rather than their mainstay creative foil Ed Buller, they’ve managed to expand their canvas even further, mixing gothic grandeur and poetry with a brutal absence of sentimentality. The Blue Hour is an update of Dog Man Star for austerity ravaged, Brexit-threatened Britain, and its left-behind towns, hollowed-out cities and untamed countrysides. This is a new Suede, expanding on a sound that’s different to both the debut and DMS, and the post Bernard records. This is Blood Sports and Night Thoughts taking the next step. The Blue Hour is its own record but at the same time it works with the previous two releases in what feels like a whole.SUEDE:: Banda anuncia novo álbum para setembro". Urge | Música, Filmes, Séries, Games (in Brazilian Portuguese). 30 April 2018 . Retrieved 5 May 2018. To Anderson, they’re not so different. “I wanted The Blue Hour to be set in a very bleak, unpleasant landscape of roadkill, B roads and fly tipping,” he says. “As a city dweller, you can kind of romanticise the countryside as this kind of Arcadian idyll, but having lived there for a couple of years, I can tell you it just isn’t like that. There is a lot of ugliness and cruelty out there.” It was the first Suede album since A New Morning not to be produced by longtime producer Ed Buller, and the first to be produced by Alan Moulder. [3] This is their final album to be released under Warner Music. There are immediate songs (Wastelands, Mistress, Life Is Golden, Tides, Flytipping...) and there are a bunch of miraculous growers (Chalk Circles, Beyond The Outskirts, All The Wild Places or the unfairly questioned The Invisibles, a monument when played live). He adds: “The Blue Hour is the time of day when the light is fading and night is closing in. The songs hint at a narrative but never quite reveal it and never quite explain,” says Anderson, explaining the title. But as with any Suede album, it’s always about the songwriting, the band, the passion and the noise.” And, thankfully, there’s plenty of that.

It took about a year to write. That’s the hard part for me. Once the songs are there, then you can enjoy yourself to a certain extent. It all has to be framed within the context of songwriting. I don’t think anyone wants to hear a Suede ambient album. This isn’t.

Contributions

Turner, Luke (21 September 2018). "Suede: The Blue Hour review – a wild ride into a rural nightmare". The Guardian . Retrieved 22 September 2018. Still bent on creativity and pushing their limits years after their Britpop contemporaries became lazy and fat, Suede have delivered one of their finest albums with ‘The Blue Hour’. This is Suede at its most adventurous, Gothic, audacious, and confident yet. The Blue Hour gives us an insane yet carefully orchestrated This is Suede at its most adventurous, Gothic, audacious, and confident yet. The Blue Hour gives us an insane yet carefully orchestrated journey of funeral dirges, witch chants, words from Brett's son, unexpected power chords, ridiculous amounts of orchestral strings juxtaposed against cheap synth strings, and of course ample walls of guitar sound. It loosely chronicles an episode of child abduction, whether by an abductor, by forces of nature, or by the lure of cities, yet somehow manages to sound optimistic and hopeful in its twisted way. Today I found a dead bird,” sings Brett Anderson on this album’s Scott Walker-esque centre-piece, ‘Roadkill’. Poor bloody bird, with its “ brittle bones like snapped twigs / Savaged by the tyres and tossed in the tar / Broken in the English dirt / A carcass for the carrying crow”. Set atop a haze of strings and drones, Anderson’s spoken-word lament and the surrounding atmosphere of fog, doom and death capture the essence of ‘The Blue Hour’.