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Video with 55 notes
Photographs by Alex Lake taken from the latest issue of Q Magazine (head here for the rest). Scans by Delicious.
Video reblogged from We Could Go Dreaming, See? with 33 notes
Interview and pics from Music Life, 1997 May issue
ML: I went to last night gig(1st day in Tokyo) and I felt as often as you do a gig, your performance get better.
M: See? It’s terrific!
ML: So you feel in that way, too?
M: Yeah. How should I say, um, it’s like to get into something, you know? I feel it’s getting better and me and Richard only gave importance to express by music during these 8 months. In addition, we did over 70 gigs while that time and in, in, intensii…
N: Intensively.
M: Yes, intensively our strength worked up. Of course there were both some good gigs and bad gigs. And sometimes we were tired. However something are incorporated every time when it happens.
ML: Two years have passed since Richard had joined, and I think your feeling changed very much as compared to at first, for example, when you stand on stage.
R: Yeah. Especially after we became this line up we made this album, and it caused some changes. It is different situation from two and a half years ago. Of course doing a gig is distinct from recording, but yes I strongly feel those changes.
ML: On the other hand, one year has passed since Neil had joined this band, right? And Neil’s performance is very individual like SELECT featured, are you conscious of it?
N: It is on stage thing so I’m a little bit conscious of it for sure. But the same can be said for other members. We should insist ourselves because we’re on the stage. However, I don’t do anything consciously besides that. I don’t carry out any plans that I made on ahead. It’s more natural thing. I express directly what I felt on the stage. That makes people see unique maybe. I mean, they can feel my identity as a character I think.
ML: Then how do Mat and Richard think of Neil’s performance on the stage?
M: I think that’s cool. He performs what he wants to. He doesn’t do acting or something, and his performance is not the preestablished harmony. It’s good thing to get free from all and stand on stage. To express something what you feel through the music is the good show.
R: Yes, it’s not the acting. It’s the utmost of entertainment I think.
ML: By the way, Coming up was on the top of the chart right after its release, and recently re-emerged in fifth place, didn’t it?
M: Yeah. This album has the biggest hit ever.
ML: What do you think of the reasons of the big hit?
M: Firstly we are backed up by huge and faithful fans. All fans have been waiting us for a long time even as we weren’t working notably. In addition, we gathered attentions from the people who didn’t know our music because of the single releases this time.
N: Cause we released singles in a row…
M: Yeah. We released 4 to 5 (actually 3) singles in a row. I think that appealed to the people who love to buy records fully. And when you get in the car, turn on the radio and sing to the song makes you want to buy the song—that’s people’s mind. It’s very, very important for us.
ML: I think most of this album’s songs are about just average life of common people and aroused young people’s sympathy, and that made it the biggest hit.
M: Yeah, maybe. But the lyrics Brett writes have always been having that style. It seems to me that the theme was focused this time indeed. It might be difficult to understand for people who don’t live in Britain, but there’re some complicated stuffs too… Well, actually we can say this album is comprehensive.
ML: After you released Dog Man Star, there was a time that you got the bad press, but I think Suede has been in the position that cannot be bundled in the particular trend or scene. Especially after the release of Coming Up, that position seems to became unchallenged.
R: We think the press is just the pack that chases the movements. So sometimes they say good things about us and sometimes they say bad things about us. But yes recently our rating seems to be stable. I feel we are in good with the press. This album is in good form in the sales too. Although I can’t predict the future.
N: But I doubt there’re not so many people who stop buying the records because of slagging off by the press. So I think the press has no other choice to accept the number one album that is backed up by many people in the end. That is… very fortunate for us.
ML: Well, um… I feel from Suede something different compared to other bands rather than big hit or the press or whatever. I don’t know how to say, like, um, Suede exists in somewhere farther away from the movement or something I think.
N: We’re not trying to accommodate ourselves to something new, because we exists beyond all those things. We do something we’d like to. So I’m very happy to hear that.
ML: Then, Neil, what did you think about Suede before you joined Suede?
N: I thought they were the star. It was already 5 years ago, I think. I’ve known them since their debut. Of course I read their articles on NME or Melody Maker and I listened to their songs. I loved them so when my join was decided, I was really pleased.
ML: What do you think now?
N: It was not so special as I thought. It was really natural. Suede is consisted of just 5 members. And when we start the tour, the time we spend together became longer. Oddly enough, in my case, I can talk about the other members or early Suede when someone asks me a comment. I feel like we’ve been friends for over ten years. But everyone says ‘Hey, why you knew that?’ or something like that. (laughs)
ML: Do Richard empathise with Neil?
R: Uh, yeah. But my case is little bit different from his case. I don’t know much about any members, and I haven’t been in any active rock bands. But once you emit a sound, many things begin to move in a moment, you know. It’s the same with personal level. However, I understand what Neil said. I feel like I’ve been playing together.
ML: Previously Brett said in our interview that Neil once talked to Brett with only his guitar and keyboards… I have a kind of image that Neil is, like, mysterious or a little bit eccentric.
M: Ah, that was because I told him that we have a policy to communicate with sound, not the words. (laughs) He stood it on his head. One morning Brett came to the studio and he said ‘Good morning Neil’, then Neil replied with keyboards like ‘la, la, la’ (laughs). His instruments are easy to use for that way, but mine is the bass.
N: Yeah. So if I ask him ‘How is it like today’s stock market?’, he’ll only reply ‘boom, boom, boooom’. (laughs)
ML: …I’m just surprised to see that Neil is laughing. I read an interview somewhere that you’re trying not to laugh.
N: (laughs) Well, it’s not bad to try to be cool, but it seems like unreachable, actorish pop star, doesn’t it? It’ll be tired and I have only 8 months career, and… you know.
ML: I see. Lastly I’d like to ask you that what will Suede do 10 years later. What do you think?
M: Oooh. Well, we may be playing still, perhaps. (laughs) I don’t know. I can’t say now.
N: 10 years may pass soon while you’re saying ‘I can’t say now’. (laughs)
R: I don’t think so, but I think much more people may come to our gigs or listen to our songs 10 years later. We ourselves will be growing too.
Photo reblogged from We Could Go Dreaming, See? with 30 notes
another pic from Music Life 1997 May issue
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