Suede are this deep into their career and have flirted equally with the charts and the arthouse that they have earned the right to be the masters of their own destiny. Hence they’ve realised that the best Suede albums have a mix of grandiose, sweeping music and dissertations on the minutiae and unease of modern life. The Blue Hour is the third album in a trilogy that includes Bloodsports and Night Thoughts, set in the dark blue-hued twilight of the evening, the deepening shadows the heart and the oncoming dark night of the soul.

Strings sweep across the rural landscapes and the trash littered motorways that Brett Anderson sings of. He’s talked about viewing the world through the eyes of his son and much of this album deals with the terrors of childhood. You can hear it both in the tension of the music and literally in Anderson’s songs of broken homes, fractured family relationships, fear of the future and finding one’s self and place in society. It’s powerful and dramatic stuff. In other’s hands it would be overwrought and pretentious but this is Suede’s home ground advantage, their musical stock and trade.

Interspersed between the songs, recorded sound effects and sonic vignettes suggest dead birds and lost children and give the record a sense of a concept album, though it’s more of a collection of sketches or short stories rather than one linear tale. Wastelands, Cold Hands, Don’t Be Afraid If Nobody Loves You and Beyond The Outskirts are highlights of the glam, indie-rock variety and provide a good balance to the arch and avant garde tracks.

It all amounts to a fascinating and rewarding album with plenty to revel in on its surface whilst also offering a deep well of poetry and drama to explore at length.

Chris Familton