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issue 1 june 2004

this article
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blast from the past (con't)                                                                                              6
easily suede (con't) 

while it is a rare thing to be able to gauge someone’s true personality after only a few hours of their company, anderson does at least display the requisite celebrity persona. in order for people to want you, buy your records, chase you across crowded railway stations and throw flowers at you on stage, you must have charm and magnetism. so far he appears to have both in spades. in the flesh he is far a more masculine than he looks on stage or in pictures, yet the accoutrements are all there: black crew-neck sweater, black flared jeans, black socks, black clumpy shoes. black! the colour of angst. he sports two earrings (one very large, one tiny) and a blonde streak crawls from his trademark curtain of lank hair. he might sometimes talk like a stroppy undergraduate – hasty, tart, optimistic – but he looks like the consummate neurotic boy outsider, an impression exacerbated by the asthma inhaler on which he sucks repeatedly throughout our interview. 

the four members of suede are true suburbanites: while bernard butler comes from leyton in east london, and 28-year-old drummer simon gilbert from stratford-upon-avon, brett anderson and 26-year-old bassist mat osman grew up in haywards heath, a drab dormitory town 40 miles south of london, five train stops from brighton. it is almost generic in its dreariness, the most intoxicating thing about the place being the backlit perspex shop signs along the high street. the son of a taxi driver (confounding stereotype, one who listens devoutly to liszt, mahler and berlioz), and an artist who painted right up until her death in 1989, anderson grew up on the end of a short terrace of council houses, next to a disused rubbish tip which has slowly turned into a small wood. it was an atypical existence: tchaikovsky and berlioz were rarely off the sitting-room turntable, there were aubrey beardsley prints on the hall wall. “i had classical music force-fed me as a kid and i absolutely hated it. [his father wanted him to train as a classical pianist.] i was saved by dirty loud music,” he says now. it was in this little house, up in his room listening to kate bush and the sex pistols, his walls covered with pin-up posters of bowie and morrissey, that anderson first began defining himself, that he first started to believe that he could have an effect on things beyond his flimsy bedroom walls.

  

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