#I wanted to make this last week before going to see OOR in london but photopea would Not cooperate but FINALLY

[theworldisabrokenbonebutitishome]

I just wanna be myself, I can't be someone else...

Stand Out Fit In - ONE OK ROCK

[tiesandtea]

Suede: prima donna Brett about Head Music (OOR, May 1999)

By Raymond Rotteveel Magazine: OOR no. 9, p. 34-37, 1st May 1999 (cover) Scanned by @kalluun-patangaroa (full article here) Translated from Dutch by Miriam, SuedeNation Scrapbook (source)

A short report on the London Astoria fanclub gig (27 March 1999) and the preceding press conference, followed by an earlier original interview with Brett about Head Music, its creation, influences and lyrical approach.

Head Music is not a reaction against Coming Up. We made this record without thinking about our past.

On paper, it looks like fun, but in real life, press conferences can be pretty disappointing. In real life, the five members of Suede are sat on a small podium in the London club Astoria, blinking their eyes because of the bright spotlights and they can see nothing of the about a hundred journalists that have flown in from all over the world. If the band is then confronted with – to say it mildly – backward questions like 'What do you think about Bernard Butler', it isn't very motivating and a corny atmosphere sets in.

Singer Brett Anderson, sat in the middle, at first answers the questions cooly and businesslike. 'No, I haven't heard BB's album yet, but the split was the best that could ever happen to me. We are both happy, so...'. And: 'No we did not choose Electricity as the single, a group of idiots did that.' Anderson wants to stress that he feels happy: 'Yes, even I have all the emotions a man can have, and being happy is one of them', and that for him, the evolution of Suede is best expressed in his favourite song Savoir Faire. 'It came to be through a new way of songwriting, but it also has the dark edge of Suede in it'.

If about 10 minutes later Ludwig from Austria (magazine unknown) asks when the single will be released – the Astoria is wallpapered with posters saying 'Electricity, new single out on April 12' – the party is over.  'Speak to your local Sony', Brett snaps back and announces the last question. The planned time for our questions is thus reduced to 15 minutes.

A few hours later the Astoria is filled with about 1500 people for a special fanclub-only gig.

The concert has, even before it's started, all the ingredients to become special. It is the first one in London since a long time and it’s especially for the real fans and therefore an appropriate test case for the new material. From opener 'Can't Get Enough', a raw straight-forward rocker, Brett is in his element: gesticulating, clapping his hands and dangerously waving his microphone about, he moves across the stage like a male diva, all the while arousing the audience with sensual hip-wiggling moves. "I feel now walking like a woman and talking like a stone age man", he wallows in his well-known cracking voice. Those who see him like this understand why he was once called 'the man who brought style back to British music by slapping his arse'. Other things that catch attention are that the now short-haired guitarist Richard Oakes is given a lot more space live than on the album and that is for the good of the sound.

The melodramatic 'Down', the ballad 'He's Gone' and the Eastern-tinted 'Indian Strings' are the highlights of the new songs tonight, while of the older material the sublime B-side 'Europe Is Our Playground', the hit 'Trash' and the encores 'Beautiful Ones' and 'Saturday Night' are way ahead (of) the rest. From the first two albums, no songs are played.

Two weeks earlier in a hotel in Notting Hill, the area where most Suede members live.

The band has just finished mixing HM and tiredness is written across Brett's face. 'Pff, yeah, we have been mixing till late last night and it has been pretty intense. It's been hard labour, but then it always is. I have never made a record that was not difficult, but that's part of it. It is not meant to be relaxing to make a record, in my opinion. It always has to be a difficult process. It's always hard work and there's always a moment where you think 'Fuck, this is going completely wrong'. I have experienced that with every record. You have to doubt the things you are doing or create. Unless you are a total idiot, you have to doubt to be able to create'.

Head Music. A record that isn't half as easily digestible as preceding million-seller CU, but that isn't as heavy as for example DMS. A record that, also through attracting producer Steve Osborne (of the remix team Perfecto Records and known for Happy Mondays and U2), was announced in the British press to be a dance album. 

Unjustly, Brett says: 'There are a lot of dance elements in it, drumloops, electronics, samples, that sort of thing. A lot of songs have been written from a certain groove or rhythm. In that, Steve had an important part. But the fact that we sound like this now, has also to do with the fact that we wanted to change our sound. To do so, we chose Steve and it worked out very well. But it's not a dance record, no. No, I've never really understood those notices in the press. I mean, I wish it was that easy, that you could say ‘Come on, let's do a dance record'. But that's not the case. It's kinda stupid to say something like that. If you say that upfront, it will never sound like a fucking dance record. It's a Suede record with elements from dance music. Suede will of course remain a rock & roll band and will not change into some sort of dance act because we happened to work with a producer who produced that sort of record in the past. It’s true that there are more songs now that you can really move to, that are in a way very danceable.'

HM sounds very different from the light-footed CU. How did that come about? I have been listening to a lot of different music over the last years, to music that has not been written from the starting point of traditional songwriting. Things like Tricky, Asian Dub Foundation, Audioweb and Prince. Furthermore, there has been a sort of musical revolution within me. I used to write songs from a melody, usual the singing melody, while now I see music more as a whole. I have learned to experiment with different instruments, I have learned to play new instruments and have even become a reasonable guitarist. There are, by the way, a lot of other songs on HM, songs with a heavy punk-like guitar. Can't Get Enough can be regarded as a punk song, but then (in) Suede style. People often regard punk and dance as two totally different styles, but that's not the case. The best punk has a groove, and the best dance sounds agressive. We have tried to use the best of both styles.

I think Neil Codling, your keyboard player, has had a big part in creating the new Suede sound. That's right. Neil has incredibly developed himself technically over the last year. He is a real sound wizard, yes. It's also because Neil is now more part of the band. At the time of CU, he hadn't been around for that long. Neil was to HM a sort of pre-producer. He's had a big influence. For instance, he convinced me that we had to go into the studio (in) a different way this time. That we had to be able to write on the spot from 2 chords or a rhythm, that everything didn't have to be set beforehand. You should see his flat. It's stacked with recording equipment, effects and computers. You can't see a thing and he's working in there all day.

Could you compare HM to the previous records already? I must say, I haven't heard the record as a whole yet. Only the individual songs and they sound really good. At this moment, I still see HM as a collection of songs. As an album, I cannot value it yet. If I listen to the songs, I must say, I feel the record sounds more diverse and universal than the three previous ones. The band is more balanced and you can hear that on HM.

How do you regard previous Suede albums now? I really like some songs on CU. I can still listen to them. From DMS, Wild Ones is pretty much the only song I can still listen to. The album as a whole I find too dark. Of course, my taste has changed over the years. DMS has a certain emotion that I really enjoy, but at the same time, the album is too heavy and too personal for me. The album has a brilliant spirit, but there's also something immature in it. That doesn't matter (though), I think it's good to look back on things and to conclude it wasn't all perfect.

DMS made me feel claustrophobic. Claustrophobic, that's the perfect word to describe DMS. The stress and the weird atmosphere in the studio during recordings, the heavy drug use and the near-constant tensions in the band, between me and Bernard especially – DMS reflects that all. Yes, I was pretty fucked up at the time.

And CU was a reaction against that? Yeah, that's the big difference with HM. With CU, we more or less made (it) as a reaction to the melancholy of DMS. It was, in a way, a relief, I think. HM is not a reaction against CU. We made this record without thinking about our past. That also has to do with us being more balanced as a band than ever before.

And you personally? There are even stories going around that Brett has sworn off drugs? Eh, well, it's not as extreme as before. But I still find coke or xtc enlightening from time to time. It's not that I have to take something at all costs now, but when I have taken a pill I do think: "There's nothing wrong with this". Xtc has always been one of my favourite drugs and I'm not going to say now that I'll never take it again. But it has been a while since the last one, yes.

You once said, your lyrics would become less personal and more observing. I think I succeeded in that. The only rule that I applied for myself was that I shouldn't sound emotional all the time. I even wanted to sound distant and cold. They aren't condescending observations, I keep singing about my life and my friends in a way. But my lyrics are now less emotional and through that more honest, I feel. There is something dual in that: you are prone to think that when a lyric is more emotional, it’s more honest. But that is not always the case. I could sit here and cry dramatically and that would come across as very emotional to you, but it wouldn't necessarily be sincere. I have tried to be less complicated this time. As a person, I feel less complicated and less dramatic now. This is an evolution I have undergone as a human being. I like to see myself as an evolving person, on an emotional level as well. I don't want to be the same dramatic person all my life. That would make things very boring, don't you think?

‘Crack in the Union Jack’ sounds like a political song, a kind of negative view of Britain that is going through difficult times even under Labour. If you use words like Union Jack in a lyric, it’s almost immediately regarded as a political song, eh? But it’s about feelings of human disillusion and about people who hide behind the wrong kind of nationalism. It is a negative song, but not against Labour. It's far too easy to say that Labour is making a mess of it just like the conservatives. Labour also makes mistakes, but I feel it's still better for our country that they are in power. That's not how I feel all the time though, it was more the reflection of a mood. See it as a negative snapshot of Great Britain.