The London Suede - Head Music

When the London Suede's original guitarist, Bernard Butler, quit the band in 1994, Anglophiles from coast to coast breathed a disconsolate sigh. Butler had played with passion and power, crafting sweeping rhythms that perfectly complemented frontman Brett Anderson's melodramatic vocals. How could the group ever find a suitable replacement? Well, they did the following year when Richard Oakes joined, and between then and now Oakes has grown into a dynamic, swaggering, and sensual musician, imbuing Head Music with a sleazy, vibrant energy. Like the band's 1996 disc, Coming Up, the album brims with glammy incandescence. Songs such as "Electricity," "Elephant Man," and "Head Music" couple thrusting beats and sweaty riffs with yelping vocals and lascivious lyrics ("She's shaking obscene like a fucking machine"). But the Suede also believe in candlelight and satin, as they prove on the more romantic fare of "Everything Will Flow," which glides along with mellifluous strings and delicate guitar lines, and the enigmatic "She's in Fashion," which writhes with bubbling guitars and sultry keyboards. --Jon Wiederhorn Amazon.com

Broke their own rules . .

It is understandable that people want a band to keep putting out the same sounding album because they loved the previous releases so much. Suede broke out and went in a direction that is dance meets Marvin Gaye's "What's Going On." The band went in a direction of fabulous catchy riffs and memorable hooks with a dance feel. Most unhappy reviews complain the band did not put out Dog Man Star II. They already took that album a step further with Richard Oakes and the amazing Coming Up. I am in the minority that feels Suede improved with the departure of Butler. And there is even more reason to cherish this release as Suede returned to a rock sound on their next release making this their only foray onto the dance floor. February 2, 2008

Somewhere out there there`s a melody, but you feel like nowhere man in nowhere land when the CD end.

Suede. Well. At it best`s it sound`s ok, but there`s too many weak tracks to make this a winner. Track 6 is a winner, but there are two many up`s and down`s before that. So, let`s go.
Track 1 Electricty, spark`s some electricity.It has vibes in that department somewhere, and it`s not a catastrophy. A good opener which spark`s, yes some electricity. Track 2 Savoir Faire as a "honky tonk rythmic" opening, but then when the refrain kicks in, it doesn`t sounds good at all. Track 3 Can`t get enough. Well, we can. This is just a mess, and your`e glad it`s over. Noicy "porman`s" heavy metal light music, but somwhere in there, it`s a melody who want`s to creep out.
Track 4 Everything will flow has an oriental japaneze beginning, and is quite ok with it`s slowmoving atmosphere all trough. Quite good. Track 5 Down, has a "blip blop" computers`k atmosphere, but never kicks off the ground.
The vocal sound`s like "poormanns David Bowie" on speed.
Track 6 Fashion has outstanding qualities when you compare it with the other song`s on this CD. It`s very humming, and right to the point when it come`s to a good pop tune. It works in every department, and it`s a 5 star inbetween a more or less "bloodpooring" music. Track 7 Asbestos. Well, we are back in the slowmoving "muddy music genre". Track 8. Head music is synth rock and roll, with that dreadfull "heavy synth metal fuzz" on the guitar. Not music for my head, so to say. Track 9 Elephant man, it`s quite ok, and moves on, but has a irritated "tin can" vocal all trough. Track 10 Hi Fi, it`s called. Well, try to test it on your`e
hi fi, and the hi fidelty feel is not there,...yet. Track 11 Indian strings, has a good bassplay, and the rythmicsection is quite interesting. One of the better one `s. Track 12 He`s gone, is not too bad. Simpel and effective, but when it`s gone, it`s gone. Track 13 Crack in the union jack sounds like "poormans" David Bowie singin` ballads. At the end you know there`s many fine themes and melodies out there, but you feel very confused, like nowhere man in nowhere land. March 7, 2006

Headphone Wonder

Without changing much their formula "Head Music" does infuse Suede with a broader range of soundscapes which makes the album,while not their best, their most elaborate an lush sounding.

The opener "Electricity" seems to have come straight out of "Coming Up" but for the most part the songs in here are very differently arranged that in other Suede offerings(check out "Savoir Faire"s marvellous futuristic backdrop) while at the same time retaining all Suede's trademark traits be it lyrically or musically.

The differences are then mainly in terms of production since Steve Osborne(he of the Happy Mondays "Pills,Thrills & Bellyaches")took the helm from Ed Buller and immediately helped diversify the band's sonics.

One of the best records released by the 90's most exciting band.

August 10, 2005

Coming down from the high that was "Coming Up"

After three majestic and diverse albums produced by Ed Buller, Suede had decided to experiment a bit in the collaboration department by enlisting the help of Happy Mondays producer Steve Osborne. An initial reaction to hearing this would be to picture a much more eclectic and experimental record.

While "Head Music", the band's 4th studio album, does succeed in being eclectic, it suffers in being lyrically shallow, and suffering from a fate that the band had not yet experienced, and that is including "filler" in a release.

If you loved "Coming Up" or you are new to Suede, this record may fulfill your pop and dance needs but for those accumstomed to the thoughtful Suede that had substance behind the sleaze, will be more than disappointed.

First thing's first, this album is not bad at all. Compared to most bands, the singles on this album are extremely well made. But by the Suede standard, the 2nd half of the album is lacking any fundamental focus.

The album starts with the fierce first single "Electricity" which is a jumpy number with retro synths and an infectious chorus, a solid track. The first half sets the pace for a classic with the Prince-like charisma of "Savoir Faire" and the America friendly dance of "Can't Get Enough" that get the mood going.

Neil Codling's contribution overrides Richard Oakes on this one by giving the ethereal "She's in Fashion", "Everything Will Flow", and "Down" their down to earth beauty with lush synths.

At this point the album seems to be going in the right direction. Sadly, things take a turn for the worse. From the redundant lounge of "Asbestos" to the downright self-parody in "Elephant Man", things just get ridiculous. The production also gets sloppy in places like "Crack in the Union Jack" and "He's Gone" but Anderson does his best to keep the songs moving with his trademark vocals. This is displayed on the classic Suede number "Indian Strings".

The sexual innuendo evident in the title track is cute but it hardly seems fit in an album filled with the same redundant vocabulary. Still, like most Suede tracks you will at first begin nodding your head to the catchy bass and beats. The problem is that there is not a lot of replay value.

So here you go, sex, drugs, but not the rock 'n' roll we usually enjoy from Suede. It is still worth buying for the first half. August 7, 2005

If it was edited.

Head Music has problems, which could have easily been fixed. First, the album takes a dive after seven songs when the title track and Elephant man rear their sillyness/ugliness and after Hi-Fi are followed by two darker tunes and an out of place throwaway. As the album is on the long side anyway, just cutting three of these last six weaker songs (maybe Elephant Man, He's Gone and Crack in the Union Jack) would have helped. Also, the first three songs are upbeat and edgy, followed by probably the best three songs on the album. These should have been mixed up better with the second half of the album.

In spite of all this, there's a lot to like. Everything Will Flow, Down and She's in Fashion are great songs, Electricity is a great album opener and Savoir Faire and Can't Get Enough capture the fresh, electronic feel of the album nicely. Also, the production is much improved over Coming Up. There are times when listening to the first half of the album when I think they've never sounded better, and with some adjustments Head Music could have been a five star disc. May 28, 2005

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