TO Bernard Butler He will always be remembered for having been the expressive guitarist and co-composer (along with Brett Anderson) of Suede’s first two (and glorious) albums. There will also be those who have retained in memory his later role as producer or collaborator in countless projects, perhaps leaving out as his era the one in which he went solo shortly after leaving the aforementioned Suede, materialized in any case in two interesting albums such as were “People Move On” (Creation, 98) and “Friends and Lovers” (Creation, 00).
A career under the protection of his own name that finds continuation, almost a quarter of a century later, in “Good Grief”which technically makes the third album in the career of Bernard Butler. The Brit resumes his journey with a pleasant, well-constructed album (it couldn’t be any other way), compliant without frills in the vocal section and in which the guitars play an important role, more for being inspired than for being blatantly protagonists. Mostly mid-tempos that, in their very development, add details and arrangements that decorate and, at times, accelerate the compositions.
The result, which avoids surprises or unexpected turns at all costs, is imposed as a kind of updated version (to the right extent) of the one offered by the author at the end of the nineties, with a classic outline and a homogenized sequence that avoids leaving the lane. Acceptable, even pleasant, songs function as a fuss-free argument for the reunion itself. It is the case of “Camber Sands”, “The Forty Foot” (referring to Elliott Murphy), “London Snow”, “Deep Emotions”, “The Wind” either “Pretty D”, the gem of the present lot with that signature guitar line.
Together they make up an elegant, but not dazzling, work. A reference that is received with joy given the charisma of the sender and which technically cannot be doubted, but which does not unleash any type of euphoria either. Maybe it’s because of the moment in which each one saw the light, but “Good Grief” seems to border below those indicated “People Move On” and “Friends And Lovers.” At least in terms of punch and after betting on greater doses of intimacy, well presented by Butler, but which remain a bit halfway to nowhere.
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