这张专辑是近几个月内英伦乐迷极其关注和期待的一张专辑。 Brett Anderson 从Suede之后的The Tears，没有停止自己的音乐思维。这一张是Brett Anderson 计划了几年，花了快俩年的时间，完成了自己的首张同名专辑。早在2006年中旬的时候，那时得知他要发行自己的专辑，很多资深的英伦迷就已经开始聊西聊东了，大家都在等待着这张问世。就这样一直拖到了2007年，现在终于将要在3月26号发行了。专辑的第一只单曲Love Is Dead将在3月12号发行。 毕竟Brett Anderson是Suede辉煌的领导者，加上The Tears，自然的不想对这张专辑有所失望。 　　新专辑共11首歌曲，先从专辑的大体开说，乐器的运用很出色，有些歌曲的吉他声色仍然是Suede时期的特有声色，Brett Anderson 在专辑中的运用了大量的弦乐。至于专辑的情感方面，悲伤的情感很突出，这点你从专辑开篇曲Love Is Dead便可以感觉出来，这可能是Brett Anderson 在一开制作专辑时就已经固定好的路线。专辑中的许多情感都是Brett Anderson自身的真实反映，像专辑的最后一首歌曲Song For My Father，写给他的已经去世的父亲，父亲的去世对Brett Anderson 情感上面造成了很大的影响。 Brett Anderson希望用这张专辑来反映自己的内心深处的想法，脱掉以前辉煌时期虚假的外衣，将最真实的感情表现出来，在加上一些对社会世俗的一些厌恶。专辑的封面和内页制作也是Brett Anderson亲自花时间来制作的，墙上的贴纸和一些照片。目的是想让人们了解他生活的中的自己，把自己的兴趣与自己身边的亲人放入其中。所以说，当一个人真真正正的表达出自己情感的时候，又有什么失望不失望的，而我则像平时一贯的作风一样，拿出耳朵仔仔细细的去听，用心去听就行了。一张满载情感的专辑，让人感动万分。 It's too easy to carp that Brett Anderson is no longer the gothic romantic that he was when he led Suede, a band legendary for its decadent theatricality, thrift-shop glam, and dark sexuality. Age changes a person, and it's mellowed Anderson — and, frankly, after years of toxic indulgence and sorrows, he deserves to settle down at least a little bit. And even if his long-promised solo debut — arriving a couple years after the long-anticipated reunion with Bernard Butler, the Tears — is clean and precise in ways that Suede never was, this is undoubtedly connected in its heart and groin to the Anderson who spent the '90s celebrating trash floating on the breeze and all kinds of nuclear debris. After all, no matter how subdued this ballad-heavy album is, Anderson still relies on his endearingly tattered book of breathless rhymes, and there's a familiar cinematic quality to much of this music, along with some diversions into boot-stomping glam. The only thing is, this cinematic pop isn't widescreen, it's fit for the cozy confines of home, while the stomping is sedate — developments that may dismay those hoping for a replication of Dog Man Star or the fizzy thrills of Coming Up, but this introspective, meticulously mature collection is as accurate a reflection of where the sober Anderson is now as those records captured him at his peak of excess. Quiet as Brett Anderson may be, underneath its smooth, shimmering surface Anderson's fire has not faded, as the anger that propels the baroque "The More We Possess the Less We Own of Ourselves" proves, but what truly distinguishes this album is its disarming sincerity. All through Suede, and even through the Tears, Anderson disguised his emotions in exaggerated rhymes, which gave his music a grandiose, even mythical quality, but here he plays it entirely straight, whether he's aching for some "Intimacy" or paying tribute to his deceased parent in the heartbreaking yet comforting "Song for My Father." This unadorned honesty is married to a production that may be a shade too clean and crisp, but the album never feels as unctuous as an indie yuppie celebrating good taste for the sake of good taste; the polish is appropriate for an Anderson who matured but has yet to settle down. If it's hard not to wish there was a little bit more grit, it's also easy to realize that, like many of his albums in the past decade, Brett Anderson is not perfect, but it's appealing partially because of its flaws. Sometimes he tries too hard, sometimes the words fall flat, sometimes the music doesn't quite equal its ambition, but that's been the case since Head Music. What makes Brett Anderson succeed as solo debut is that it truly presents Anderson on his own, willing to sound different, quieter than he did when in a band, willing to open his heart without regard for consequences. At times, the album doesn't quite gel, but when it works, it has a sense of elegiac grace uncommon to any of his peers.