![]() The thing that makes me laugh is that if people could have seen where Brett was living at the time, it was much seedier. I think people must have seen all these strange characters going in and thought, “I wonder what kind of weird sex party is happening in there?” but didn’t want to know what they might find. Nobody knocked on the door the whole time. ![]() For Animal Nitrate we turned up in what we’d been wearing the day before, but with a papier-mache pig’s head and women with painted on costumes. The first three videos were all done cheaply in pubs and housing estates in north London, which looked like the places we’d grown up in. It’s not our biggest hit, but it’s probably the song that’s most synonymous with Suede – the way we looked and the seedy glamour. Simon and I just followed what he was playing. Bernard played rhythm and lead, like Johnny Marr would. Ed Buller wanted it faster and we wanted it more grinding. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply.Īfter newsletter promotion When we made the video, people must have thought ‘I wonder what kind of weird sex party is happening in there?’ For more information see our Privacy Policy. Privacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. I don’t know if that’s why it has an element of call and response in the chorus, but when we played it at the 1992 Reading festival you could see the audience responding. It was the first song we wrote with an audience in mind – we knew people were listening. I think we all knew it was a big song, almost a distillation of what we’d been doing to that point. The rhythm of the middle eight is very Smells Like Teen Spirit. He was listening to a lot of Nirvana at the time and you can hear that in the spiciness of the guitar line. Bernard – when he wants – can do really interesting jazzy chords but this is much more straightforward and direct. I first heard Animal Nitrate on a tape at the Premises in Hackney where we rehearsed. I love the idea that people would be humming along to a nice little tune, but underneath the lyrics are barbed and uncomfortable, as if we had smuggled a dangerous animal into their house. I think they’d sussed us and didn’t want a Frankie Goes to Hollywood moment. After it went Top 10 there was a moment when the BBC Radio 1 bigwigs got in touch and asked us what the song was about. We were such a phenomenon by then they couldn’t ignore us, but it felt like we’d crashed the party. We showcased the song at the Brit awards. I’d grown up in a council house and was trying to talk about the failures and frustrations and the darkness of that background. ![]() I’d always liked the idea of writing a pop song with darker themes, so with Animal Nitrate I wanted to evoke this violent, sexual, underprivileged world. I wrote it down, forgot about it, opened my notebook the next day and there it was. One night I was at a gig at the Powerhaus in Islington and overheard what I thought was “animal nitrate” in a drunken conversation. I took it away but I just couldn’t write anything that I thought was any good. The working title was Dixon, because it sounded like the theme for Dixon of Dock Green. Bernard came up with the chords for Animal Nitrate and gave me a cassette of them with a drum machine on.
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