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steve sutherland, editor of the new
musical express, is unequivocal in his support: “the band are
totally underrated, and most of their press over the last nine
months has been sniping and carping, a typically british
sensibility. i’m not an apologist for them by any means, they just
happen to make great records, and their new single is the best thing
they’ve ever done. you don’t have to have cultural importance to
make great music, but suede have it anyway. i can’t say whether or
not they’ll be looked upon in years to come as a seminal band, as
the music scene is more fragmented now than it’s ever been. but at
the moment they are the best we’ve got.”
robert sandal, the sunday times music
critic, has rather more reservations: “they are the most hyped
band in the history of british rock, but that’s not really their
fault. they’re good, but i don’t think it’s possible for them
to become as important as they want to be. there’s a
humourlessness about them that’s quite disturbing, as they seem to
be devoid of irony. as a histrionic rock band, however, they’re
great, if a little nostalgic.”
almost
by accident anderson has become a spokesman for his generation
(23-year-old bernard butler who, along with anderson writes all the
band’s material, is the harpo marx of the group, refusing all
requests for interviews). cheeky, garrulous, and belligerently
uncynical, he has become an anti-establishment icon for disaffected
youth. he is disarmingly attractive, studiedly introverted, and
pointedly anti-consumerist. most pop stars during the 1980s aspired
to designer lifestyles, fast cars, supermodels (the trophy wives of
our times), holidays in monserrat and pop-cultural world domination.
anderson aspires to nothing less than personal epiphany.
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