{"id":16054,"date":"2009-07-30T16:00:00","date_gmt":"2009-07-30T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/suede-drame-glam-avant-que-le-britpop-ait-un-nom\/"},"modified":"2026-09-27T01:16:21","modified_gmt":"2026-09-26T23:16:21","slug":"suede-drame-glam-avant-que-le-britpop-ait-un-nom","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/suede-drame-glam-avant-que-le-britpop-ait-un-nom\/","title":{"rendered":"Suede – Drame glam avant que le Britpop ait un nom"},"content":{"rendered":"

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Le cri de Brett, la guitare de Butler, puis Oakes et un deuxi\u00e8me acte de refrains<\/h3>\n

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Brett Anderson et Bernard Butler \u00e9crivaient d\u00e9j\u00e0 ensemble \u00e0 Londres \u00e0 la fin des ann\u00e9es 1980, avant que Suede ait un nom ou un label. Mat Osman, qui avait \u00e9t\u00e9 \u00e0 l’\u00e9cole avec Anderson, a pris la basse. Simon Gilbert a rejoint \u00e0 la batterie. Les premi\u00e8res chansons m\u00e9langeaient le glam androgyne de Bowie avec l’\u00e9conomie de guitare des Smiths et le mode outsider anglais de Morrissey, filtr\u00e9 par le Londres particulier d’Anderson : chambres meubl\u00e9es, glamour emprunt\u00e9, la texture d’une ville vue de la fen\u00eatre quand on n’a pas les moyens d’y entrer.<\/p>\n

Nude Records a sorti \u00ab\u00a0The Drowners\u00a0\u00bb en mai 1992. La presse a r\u00e9pondu imm\u00e9diatement. NME les a mis en couverture avant m\u00eame qu’ils aient sorti un album, ce qui a cr\u00e9\u00e9 une pression autour du premier disque avant qu’il existe. Suede (1993) est arriv\u00e9 avec la guitare en couches de Butler, un adolescent jouant avec une autorit\u00e9 inhabituelle, et la voix d’Anderson quelque part entre le cri et le crooner. \u00ab\u00a0Metal Mickey\u00a0\u00bb et \u00ab\u00a0Animal Nitrate\u00a0\u00bb ont maintenu l’\u00e9lan dans les charts. L’album a remport\u00e9 le Mercury Prize. Le Britpop n’avait pas encore de nom ; l’indie rock th\u00e9\u00e2tral de Suede \u00e9tait d\u00e9j\u00e0 en couverture des magazines.<\/p>\n

Dog Man Star (1994) \u00e9tait le disque le plus ambitieux, et le plus co\u00fbteux \u00e0 r\u00e9aliser. La relation de travail entre Anderson et Butler s’est fractur\u00e9e pendant les sessions ; Butler est parti avant que l’album soit termin\u00e9, m\u00eame si son travail de guitare reste pr\u00e9sent tout au long du disque, particuli\u00e8rement dans les passages orchestr\u00e9s. Les textes d’Anderson ont \u00e9largi le cadre : banlieue, d\u00e9sir, drogues, lumi\u00e8re anglaise. L’album s’est moins vendu que le premier et reste le disque le plus comment\u00e9 de leur catalogue, celui que la g\u00e9n\u00e9ration suivante cite en premier.<\/p>\n

Richard Oakes a rejoint le groupe comme rempla\u00e7ant de Butler. Il avait dix-huit ans. Neil Codling est arriv\u00e9 aux claviers. Le groupe reconstitu\u00e9 a r\u00e9alis\u00e9 Coming Up (1996) : des chansons plus courtes, des refrains plus accrocheurs, une intention pop explicite. \u00ab\u00a0Trash\u00a0\u00bb \u00e9tait un hymne en mineur avec un refrain qui coupait net. \u00ab\u00a0Beautiful Ones\u00a0\u00bb et \u00ab\u00a0Saturday Night\u00a0\u00bb ont atteint le top dix britannique. L’aile critique y a vu un recul commercial ; les ventes ont confirm\u00e9 une lecture diff\u00e9rente. La guitare d’Oakes \u00e9tait efficace plut\u00f4t qu’orn\u00e9e, et la dynamique entre lui et Anderson s’est install\u00e9e dans quelque chose de plus m\u00e9thodique que les ann\u00e9es Butler.<\/p>\n

Head Music (1999) a maintenu la pr\u00e9sence dans les charts, \u00ab\u00a0Electricity\u00a0\u00bb et \u00ab\u00a0She’s in Fashion\u00a0\u00bb ont gard\u00e9 la radio active, tandis que les exc\u00e8s personnels au sein du groupe commen\u00e7aient \u00e0 affecter le calendrier d’enregistrement. A New Morning (2002) est arriv\u00e9 plus calme et plus incertain, et le groupe s’est s\u00e9par\u00e9 en 2003. Anderson a sorti des albums solo. Butler, qui avait d\u00e9j\u00e0 fait des albums avec David McAlmont, a travaill\u00e9 sur des productions et est revenu p\u00e9riodiquement \u00e0 la conversation.<\/p>\n

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En 2010, la formation Anderson, Osman, Gilbert, Oakes et Codling s’est reform\u00e9e. Bloodsports (2013) \u00e9tait plus tranchant que la plupart des observateurs ne l’attendaient apr\u00e8s une d\u00e9cennie d’absence. Night Thoughts (2016) est arriv\u00e9 avec un film compagnon. The Blue Hour (2018) est retourn\u00e9 vers l’ambition orchestrale de Dog Man Star. Autofiction (2022) a d\u00e9lib\u00e9r\u00e9ment d\u00e9pouill\u00e9 la production, et Antidepressants (2024) a maintenu le groupe en activit\u00e9. La reformation a produit cinq albums sur une d\u00e9cennie, une deuxi\u00e8me p\u00e9riode inhabituelle qui tient debout seule plut\u00f4t que de simplement raviver la premi\u00e8re.<\/p>\n

Le march\u00e9 am\u00e9ricain les a re\u00e7us sous le nom The London Suede, apr\u00e8s un litige de marque avec un groupe country am\u00e9ricain du m\u00eame nom. Cela signifie que la perc\u00e9e initiale s’est d\u00e9roul\u00e9e sans grande exposition dans les charts am\u00e9ricains, et plusieurs des disques importants ont atteint les auditeurs am\u00e9ricains par r\u00e9\u00e9valuation tardive plut\u00f4t que lors de leur cycle de sortie original.<\/p>\n

Ce qui anime la musique, c’est la voix d’Anderson, un \u00e9tirement de voyelles et une th\u00e9\u00e2tralit\u00e9 qui ne renonce jamais tout \u00e0 fait au camp, contre une guitare qui travaille pour le drame plut\u00f4t que pour la virtuosit\u00e9. Que ce soit Butler ou Oakes \u00e0 la six-cordes, la priorit\u00e9 \u00e9tait la dynamique : fort-doux-fort, amplitude \u00e9motionnelle, le texte disposant de l’espace pour atterrir. Cela distinguait Suede du rock angulaire de Blur et du classicisme direct d’Oasis. L’exc\u00e8s \u00e9motionnel \u00e9tait le propos, pas un effet secondaire.<\/p>\n

Commencer avec Suede (1993) pour l’\u00e9nergie du premier album et la guitare de Butler \u00e0 pleine intensit\u00e9. Dog Man Star pour l’ambition et l’\u00e9criture \u00e0 son stade le plus d\u00e9velopp\u00e9. Coming Up pour l’efficacit\u00e9 pop de la deuxi\u00e8me formation. Bloodsports pour prouver que la reformation n’\u00e9tait pas purement c\u00e9r\u00e9monielle.<\/p>\n

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Brett Anderson et Bernard Butler \\u00e9crivaient d\\u00e9j\\u00e0 ensemble \\u00e0 Londres \\u00e0 la fin des ann\\u00e9es 1980, avant que Suede ait un nom ou un label.<\/p>\n","protected":false},"author":1,"featured_media":16040,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[311,943],"class_list":["post-16054","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-alternative-indie-punk-fr","tag-suede"],"yoast_head":"\nSuede - Drame glam avant que le Britpop ait un nom - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/suede-drame-glam-avant-que-le-britpop-ait-un-nom\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Suede - 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