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Bloodsports

Bloodsports

15 Mar 2013
4.4 out of 5 stars 20 customer reviews

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Bloodsports
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Product details

  • Original Release Date: 15 Mar. 2013
  • Release Date: 17 Mar. 2013
  • Label: Suede Ltd
  • Copyright: 2013 Suede Ltd.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 39:46
  • Genres:
  • ASIN: B00BRUJURQ
  • Average Customer Review: 4.4 out of 5 stars 20 customer reviews
  • Amazon Bestsellers Rank: 14,976 in Albums (See Top 100 in Albums)
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Customer Reviews

4.4 out of 5 stars
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Top Customer Reviews

Format: MP3 Download Verified Purchase
Frankly, I was nervous about this album.

Suede were triumphant at their Brixton gigs last year, but that doesn't necessary mean great new material.
The last two albums before their break up were really not up to their own high standards, so there was a chance that this would be disappointing.

However, I need not have worried as this album is at the same time beautiful and dark, lyrically more open (no pigs, high rises or taxis!) and led from the back by a stomping rhythm section performance ... exactly what a Suede album should be!

`For the Strangers' and `Sometimes I feel I float away' are the stand out tracks for me, but what's great about Bloodsports is that it demands to be listened to as an album, a rarity at the moment, so do yourself a favour and switch off shuffle!

The real test for any Suede material is how it translates live, and if the XFM gig is anything to go by, these songs sound even better with that rawness that live performance brings. Anyone with a ticket to see them at Alexandra Palace should expect to be blown away!

So I have an exciting new favorite band... it just so happens they used to be my old favorite band!
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Format: Vinyl Verified Purchase
This review is about the quality of the vinyl version, not about the music. This vinyl record has a lovely gatefold design and a very nice big poster. I weighed the vinyl to be a full150g. This could have been a truly good LP record for suede. Unfortunately, the vinyl material is of extremely bad quality with all kinds of irregular black shades and grayscales all over both surfaces. The thick red cardboard innersleeve could have been a nice feature as well, but the inner surface is so coarse that the vinyl surfaces are full of scuff marks. If a band like this is issuing a new album with such nice songs, they should really pay more care and attention into the vinyl record production, and use better grade vinyl materials! Honestly, this is exactly like the lowest budget american reissue that is selling at $12.99. I have never seen any european LP using such a low grade vinyl material.
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Format: MP3 Download Verified Purchase
just love it.
I loved Suede up until head music.
By that time they had taken on an unnatural electronic, high quality sound that I felt just didn't suit them - too prsitine for a band that sang about the seedier side to british life.
When this album was released I had a listen on spotify (as a subscriber) and listened so often that I knew I had to purchase this. Brilliant from start to finish, this is the classic sound of Suede, except that this isn't suede repeating their first two albums - this is how they should sound, less focussed on the seedy side of love and drugs but definitely losing nothing in the songwriting and sounding a dirty and raw as they always should have
highly recommended
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Format: MP3 Download Verified Purchase
I'm one of those annoying people who liked the first three Suede albums and nothing much since. But from the opening bars of anthemic "Barriers" I was back into the band with a vengeance. It's still not quite got the majestic brilliance of tracks like "Trash" or "New Generation" or "Metal Mickey" but hey, it's their best work since Head Music so fans will love it...I think!
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As seems to be a general consensus among reviewers, there was a feeling of trepidation for a reunion album from Suede. For fans of the Bernard Butler-era, the odds were stacked even higher. With hindsight, Coming Up was good but not great, and the two following albums definitely less so, while in the interim, the Butler-led Dog Man Star and self-titled debut, as well as the first disc of Sci-Fi Lullabies became their legacy. One can understand why Richard Oakes might have been reluctant to commit to a reunion if all he was doing is aping his predacessor. Chance was against them - as a rule, reunion albums are by and large terrible, and Suede's legacy had well and truly vanished before they acknowledged this fact and split up in 2002 - but somehow, even among the plaudits rightly thrown at their live comeback gigs, they've exceeded expectations.

Stories of them scrapping a previous album's worth of material in favour of the new songs that make up this record shows a quality control that was absent for the last 13 years, as this album can justifiably stand alongside Dog Man Star as their masterpiece. It's full of punch and attitude in the first half. Barriers is absolutely triumphant, Snowblind even more so - the ghosts of Moving and We Are The Pigs sit alongside the pop immediacy of Trash or Beautiful Ones and create something that's Suede at their most optimistic but also pummelling. The first half of the album keeps up the pace, sounding both classic and modern, but always Suede. Part of the joy of these songs is that it feels like Richard Oakes' ability as a guitarist and songwriter has finally emerged into its own entity; instead of Oakes trying to sound like he's part of Suede, Suede have adapted to fit his sound.
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When I first learned of a new Suede record on their website forum, I took a deep breath and I braced for the worst. Suede gave me two of the ten best albums of my lifetime in their debut and "Dog Man Star", but their most recent studio album ("A New Morning") was incredibly difficult to even sit all the way through - and let's face it... Bands getting back together and recording new material usually doesn't work.

When the band's musical genius, Bernard Butler, left the band in a huff in 1994, fans and critics just assumed they were done for. In 1996, however, they released "Coming Up", a more accessible record featuring a very young Richard Oakes and drummer Simon Gilbert's cousin Neil Codling as a new member. This record wasn't on the level of their first two Butler-penned albums, but there wasn't a significant drop-off in artistic quality and the fanbase rejoiced that they had some of the bands best tracks ever in "Beautiful Ones" and "Saturday Night".

However, in the years that followed, Brett Anderson began to have personal issues and the quality of his writing, especially his lyrics, went downhill. There were a few standout gems in tracks like "She's In Fashion" and "Can't Get Enough", but his vocal was overly - and perhaps deliberately - nasal, and his lyrics were often recycled from his other songs (litter on the breeze, etc). By the time "A New Morning" was released, we could all see that the band had hit a wall. The album featured a single standout track in "Obsessions" but songs like "Positivity" and "Streetlife" were a far cry from the artistic quality found on "Dog Man Star" and were borderline embarrassing. I'm all for evolution and changing of styles, but this wasn't growth; it was a record by a band unraveling.
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