{"id":5317,"date":"2025-09-19T08:23:48","date_gmt":"2025-09-19T08:23:48","guid":{"rendered":"https:\/\/musictechohio.online\/site\/the-making-of-suede-the-drowners-2889\/"},"modified":"2025-09-19T08:23:48","modified_gmt":"2025-09-19T08:23:48","slug":"the-making-of-suede-the-drowners-2889","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/the-making-of-suede-the-drowners-2889\/","title":{"rendered":"\u201cIt\u2019s a very sensual song\u201d \u2013 Suede on the making of \u201cThe Drowners\u201d"},"content":{"rendered":"<div>\n<div class=\"post-preview\">\n<p><strong>As Suede conclude their <a href=\"https:\/\/www.uncut.co.uk\/reviews\/suede-live-at-the-southbank-centre-reviewed-a-band-embracing-the-future-150951\/\" target=\"_blank\" rel=\"noreferrer noopener\">triumphant Southbank Takeover<\/a>, here&#8217;s <a href=\"https:\/\/www.uncut.co.uk\/features\/an-audience-with-brett-anderson-33396\/\" target=\"_blank\" rel=\"noreferrer noopener\">Brett Anderson<\/a>, Bernard Butler, Mat Osman, Simon Gilbert and producer Ed Buller remembering the creation of their debut single, &#8220;The Drowners&#8221;. Inspired by glam and &#8220;engorged flesh&#8221;, it earned the band celebrity fans and a record deal, and helped change the course of &#8217;90s indie\u2026\u00a0<\/strong><\/p>\n<\/div>\n<div class=\"post-content google-ld-json\">\n<div class=\"editable-content\">\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button has-custom-width wp-block-button__width-100\"><a class=\"wp-block-button__link has-vivid-green-cyan-background-color has-background wp-element-button\" href=\"https:\/\/shop.kelsey.co.uk\/uncut-magazine?offer=UNC1025&amp;source=UNC1025social&amp;channel=social#anchor-shop\" target=\"_blank\" rel=\"noreferrer noopener\">Click here to subscribe to Uncut<\/a><\/div>\n<\/div>\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<p><strong>As Suede conclude their <a href=\"https:\/\/www.uncut.co.uk\/reviews\/suede-live-at-the-southbank-centre-reviewed-a-band-embracing-the-future-150951\/\" target=\"_blank\" rel=\"noreferrer noopener\">triumphant Southbank Takeover<\/a>, here\u2019s <a href=\"https:\/\/www.uncut.co.uk\/features\/an-audience-with-brett-anderson-33396\/\" target=\"_blank\" rel=\"noreferrer noopener\">Brett Anderson<\/a>, Bernard Butler, Mat Osman, Simon Gilbert and producer Ed Buller remembering the creation of their debut single, \u201cThe Drowners\u201d. Inspired by glam and \u201cengorged flesh\u201d, it earned the band celebrity fans and a record deal, and helped change the course of \u201990s indie\u2026\u00a0<\/strong><\/p>\n<p>For Suede, it was, in many ways, the worst of times. Singer Brett Anderson had broken up with girlfriend Justine Frischmann, losing along the way his residence in her plush Kensington flat, and her hustle as ersatz band manager.<\/p>\n<p>It was also the best of times. In his new, meaner lodgings in London\u2019s seamier Westbourne Park, Anderson made a giant leap forward as a writer, shedding his Momus-indebted flourishes for a new style of lyrics that romantically recast his own penurious lifestyle. He grew closer to guitarist Bernard Butler, and their songwriting partnership gave up its first real fruits.<\/p>\n<p>\u201cWhen someone is going out with someone in the band and they\u2019re going home together you can never break that down,\u201d remembers Butler. \u201cBrett was a hidden character behind Justine. So when that ended, that\u2019s when we started writing good things together. Justine lent me the money for a Les Paul, for which I\u2019m eternally grateful.\u201d<\/p>\n<p>Suede had been ignored in their first incarnation. Now, revelling in this anonymity, the definitive lineup began to develop their personality and present it in their songs. \u201cWe started to see ourselves as a little force,\u201d says Butler. \u201cWe used to say, \u2018We have the power\u2019, like from Bowie\u2019s \u2018Quicksand\u2019. It didn\u2019t matter what anybody else thought, as long as you had hold of this thing called The Power.\u201d<\/p>\n<p>Equipped with this Crowley-derived mantra, Suede began working in a Hackney rehearsal room on their new, glam-inspired sound. They recorded a three-track demo, and offered it to the music business. One small corner of the music business listened, and, with Morrissey and Blur looking on, an underclass anthem was born.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\n<div class=\"wp-block-embed__wrapper\">\n<div class=\"youtube-embed\" data-video_id=\"3nWJQStqrfw\"><iframe loading=\"lazy\" title=\"Suede - The Drowners (Remastered Official HD Video)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/3nWJQStqrfw?feature=oembed&amp;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div>\n<\/figure>\n<p><strong>Mat Osman (bass):<\/strong> \u201cThe Drowners\u201d was from the first batch of stuff we did that sounded fully formed and not like what we had been doing before at all \u2013 it had weird edges to it that other stuff we had written didn\u2019t. The stuff we\u2019d been doing before was\u2026 Smithsier. But \u201cThe Drowners\u201d doesn\u2019t jangle at all.<\/p>\n<p><strong>Brett Anderson (vocals):<\/strong> Me and Bernard were starting to click as songwriters when we wrote \u201cThe Drowners\u201d. We thought it was a pretty amazing song, and we demoed it and \u201cTo The Birds\u201d [and \u201cMy Insatiable One\u201d, at Rocking Horse Studios in South London] and sent it to people in the record industry. No-one was particularly interested [laughs]. We were quite shunned early on, with exactly the same material that we were later hailed for, which was quite a strange situation.<\/p>\n<p><strong>Bernard Butler (guitar):<\/strong> Justine left the band in the middle of 1991. The whole thing with Justine was a massive slap round the face for Brett, in creatively a very positive way. He started singing in a different way and we dropped all our material. We would cancel rehearsals until we had a brilliant song \u2013 then we\u2019d go to rehearsal with one song and play it for four hours. Then we\u2019d record it and go home.<\/p>\n<p><strong>Osman:<\/strong> Justine had more money than the rest of us put together, so we were OK for rehearsing and stuff like that. \u201cThe Drowners\u201d was recorded when we were the most poor we\u2019d ever been.<\/p>\n<p><strong>Anderson:<\/strong> \u201cThe Drowners\u201d was a sort of celebration of that kind of lifestyle, I suppose\u2026 a drifting, stonery, specifically British lifestyle, wandering about roundabouts. That\u2019s kind of how I spent much of the 1990s. There\u2019s something deeply suspect about social tourism, but this was saying, \u201cThis is how I live, and I\u2019m proud of it. I won\u2019t join the rat race. I won\u2019t be a puppet to advertising. I won\u2019t buy into what society tells me to buy into. I\u2019ll just live within my means.\u201d There\u2019s something quite pure and quite beautiful about that.<\/p>\n<p><strong>Osman:<\/strong> We took it to every record company and they were completely uninterested. We\u2019d go out every night having written \u201cThe Drowners\u201d and watch bands, thinking, \u2018How the fuck are they signed and we\u2019re not?\u2019 And not really realising that cyclical thing that happens \u2013 that at that time every record company was looking for the next Ride.<\/p>\n<p><strong>Butler:<\/strong> I remember me and him [Anderson] used to walk round London at that time, like Withnail and I or something, thinking we were really fantastic. Actually looking like an absolute couple of pricks, with our Oxfam clothes. We really didn\u2019t mean anything.<\/p>\n<p><strong>Osman:<\/strong> Signing to Nude [for a two-single deal] was the most fantastic feeling, after the voicelessness of it. Saul [Galpern, Nude records boss] and Ed [Buller, Suede producer] took you seriously and would talk about you in the same terms as your heroes. It\u2019s tremendously empowering. Otherwise, you\u2019re thinking, \u2018Am I just being deluded?\u2019 One of the reasons the records sound as confident and as joyful as they do is because we\u2019d found those people \u2013 people who had seen great gigs and made great records.<\/p>\n<p><strong>Simon Gilbert (drums):<\/strong> Once we\u2019d signed with Nude, we had EastWest after us\u2026 Once word got out you were signed, everyone started knocking on your door. We got flown over to LA by Geffen and then a couple of weeks later by Sony. It was a free for all. The best thing was that they would open the record cupboard for you after these meetings, and you\u2019d leave with a bag full of free records.<\/p>\n<p><strong>Osman:<\/strong> Our main income for six months was getting free records from these record companies, then racing each other to the Record And Tape Exchange in Notting Hill. I remember going there with this Bruce Springsteen live boxset which we had got off Columbia and thinking, \u2018Fucking hell, this is going to be worth thirty quid\u2026\u2019 I got in there and the guy said \u201cSorry mate, the rest of the band have been in first\u2026\u201d and seeing three of them up on the wall.<\/p>\n<p><strong>Ed Buller (producer):<\/strong> Suede were signed to a good friend of mine that I hadn\u2019t seen for a while \u2013 Saul Galpern. I knew Saul when I worked at Island Records. He liked some stuff that I\u2019d done since I left Island, so he rang me up. He didn\u2019t have a lot of money but he knew that I was fairly proficient at doing quick little records fairly proficiently and on the cheap. He knew I was a big glam fan, so he said, \u201cI think I\u2019ve got a band that are right up your street.\u201d<\/p>\n<p><strong>Anderson:<\/strong> I think Ed respected that the songs were very fully formed. It wasn\u2019t a Frankie Goes To Hollywood situation. The songs sounded great when we played them live, and it was more of a question of capturing that and that vibe, and adding a few touches. He didn\u2019t treat it as another scruffy record that nobody really cares about. We very much believed in the songs, and what the band was about and the spirit of the band. It was very special and kind of against the grain.<\/p>\n<p><strong>Butler:<\/strong> I really liked Ed, he was a great inspiration because he\u2019s quite an ordinary kind of fella, but he had this depth of technical nous that I was desperate to mine. He was easy to take the piss out of and have a laugh with, and you need someone like that in a band. He got what I wanted to do. I had all the parts \u2013 we all did. We didn\u2019t want to record live to prove we could play live, we wanted to make great pop records.<\/p>\n<p><strong>Buller:<\/strong> A massive thing for me was Bernard, because he was a proper virtuoso guitarist. I\u2019ve known a few. I did a session with Eric Clapton about three years before that \u2013 he\u2019s a nice bloke and he can play the guitar, but it isn\u2019t my style of guitar playing. I just got Bernard straight away \u2013 I thought it was going to be so much fun. That was a big part of it: Bernard was very easygoing but analytical. What we didn\u2019t want to do was make it a clone of a \u201970s record, we wanted to visit it in a different way. The guitar parts were all showing off \u2013 it was like a fight for who was more important, the guitarist or the singer. At the end of the day, you know who\u2019s going to win, but for a minute it was touch and go.<\/p>\n<p><strong>Anderson:<\/strong> \u201cThe Drowners\u201d was a strong statement. No disrespect to anyone else, but I\u2019ve always liked that \u201cus and them\u201d, it\u2019s inspired me in my music tastes: growing up in the early 1980s there were lots of tribes in the playground, and I wanted Suede to be like that, a love-us-or-hate-us situation.<\/p>\n<p><strong>Buller:<\/strong> Brett, like a lot of great singers, put on a performance, an inflection, like David Bowie and Marc Bolan, a \u201csinging voice\u201d. If you imagine there\u2019s a dial attached to a singer\u2019s forehead that measures their mannerisms from low to extreme. I knew the only thing I had to do with Brett was to dial that down a bit. \u201cShe\u2019s taking me over\u2026\u201d being an example. When we started on that, it was very extreme, because of the live thing, a way of getting the spotlight back on him. I know he looks back on some of those early recordings with a certain discomfort. I tell him he shouldn\u2019t, as it made them so distinctive at the time. The only direction I ever gave Brett was \u201cDial it back a bit on that line\u2026\u201d He took it well. He trusted me.<\/p>\n<p><strong>Butler:<\/strong> The homoerotic references, it was something I had no knowledge of or interest in until people started talking to him about it in interviews. It hadn\u2019t occurred to me that we were behaving in a camp sort of a way or anything like that. It wasn\u2019t a homoerotic kind of thing. We behaved in quite an effeminate way because that was the kind of boys we\u2019d grown up to be. Baggy had been quite macho, quite masculine. I didn\u2019t see any homosexual references, it was just the way we were as people. We were happy to explore all aspects of who we were as people.<\/p>\n<p><strong>Anderson:<\/strong> It\u2019s a very sensual sort of song, isn\u2019t it, \u201cThe Drowners\u201d? It\u2019s got kind of sexual signposts which you can follow\u2026 at your peril, wherever you wanna go with it. I don\u2019t really know what the fucking thing\u2019s about. I don\u2019t think any writer does, anyone who tells you what it\u2019s about is misunderstanding their art. It\u2019s a writer\u2019s job to lead you somewhere, to offer flavours. It\u2019s about a sort of desperate state of\u2026 flailing around in yards of engorged flesh. Of course, everything you write is from experience. But a song isn\u2019t a book, isn\u2019t a page from a diary. You\u2019re taking the art in a different direction. It\u2019s closer to poetry, though not as close as people think \u2013 you\u2019re suggesting things and playing with words a lot of the time.<\/p>\n<p><strong>Osman:<\/strong> \u201cThe Drowners\u201d was the Suede badge. I remember doing a Christmas show to four people, so selling out the Camden Falcon was like selling out Madison Square Garden. We don\u2019t work well without an audience. That was the first time people were singing stuff back to us.<\/p>\n<p><strong>Anderson:<\/strong> When you first play gigs, there\u2019s a \u201cD\u201d-shaped-space in front of the stage, which people don\u2019t really dare to go in before the band is signed, because they\u2019re frightened that they might infect them with their failure. But suddenly, there were people there. We played the Camden Falcon and Morrissey turned up and Suggs turned up, and there were people right in my face at the front of the stage. There wasn\u2019t this\u2026 gulf of horror in front of me. It suddenly changed from four people standing at the back, to full-on hysteria. It was kind of wonderful.<\/p>\n<p><strong>Butler:<\/strong> I think it\u2019s probably the best-sounding thing we ever did. It still sounds really raw and fresh and colourful. I\u2019m proud of it \u2013 it didn\u2019t sound like anybody else. We were very focused on making great records. We didn\u2019t want to be successful. Our hearts were set on making something great.<\/p>\n<p><strong>This article originally appeared in Uncut\u2019s July 2012 issue (Take 182)<\/strong><\/p>\n<\/div>\n<\/div>\n<p>The post <a href=\"https:\/\/www.uncut.co.uk\/features\/the-making-of-suede-the-drowners-2889\/\">\u201cIt\u2019s a very sensual song\u201d \u2013 Suede on the making of \u201cThe Drowners\u201d<\/a> appeared first on <a href=\"https:\/\/www.uncut.co.uk\/\">UNCUT<\/a>.<\/p>\n<\/div>\n<div style=\"margin-top: 0px; margin-bottom: 0px;\" class=\"sharethis-inline-share-buttons\" ><\/div>","protected":false},"excerpt":{"rendered":"<p>As Suede conclude their triumphant Southbank Takeover, here&#8217;s Brett Anderson, Bernard Butler, Mat Osman, Simon Gilbert and producer Ed Buller remembering the creation of their debut single, &#8220;The Drowners&#8221;. Inspired&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3761,31,35,670],"tags":[],"class_list":["post-5317","post","type-post","status-publish","format-standard","hentry","category-brett-anderson","category-features","category-interviews","category-suede"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/5317","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/comments?post=5317"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/5317\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=5317"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=5317"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=5317"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}