My 2nd favorite song of all time is Trash but I also love The Chemistry Between Us and Saturday Night almost as much. The blandly anthemic Saturday Night paved the way for later FM fluff, while the B sides soon plummeted from air-punching (Every Monday Morning Comes) to scab-scratching (These Are the Sad Songs). They have the enviable knack of taking the rather pathetic fumble of a quick fuck under the pier and extracting those few golden moments that many years later convince oneself that, for one brief flickering moment, one was as inspired as Romeo or, in some cases, Juliet. During 2000, there was press speculation that Suede were on the verge of disbanding, which was not helped by Codling's absence from some European gigs. Upon first putting the needle down I needed to lower the pitch below the usual (slightly under 0 Music hall usb-1) and adjusted the treble and bass levels so I could hear Trash in all its glory.

Anderson also attracted more criticism from fans for his frequent use of redundant vocabulary and limited lyrical themes.On the eve of the release of Coming Up, Neil McCormick of The Telegraph wrote: "Cast in the classic mould of the androgynous rock star, Anderson appears curiously anachronistic in a British rock scene polarised between the laddishness of Oasis and the suburbiana of Blur and Pulp. There were also very prolific during this period, giving the usual, generous amount of quality b-sides and extra tracks to all the singles in their various formats.

In November 2018, the band released a documentary entitled Suede - The Insatiable Ones directed by Mike Christie.Bands such as Blur, Oasis and Pulp began to dominate the music scene, while Suede became more experimental and introverted.

Only two singles, " Positivity" and " Obsessions", were released, the fewest singles taken from any of the band's albums, and neither charted particularly well. On 23 May 2022, eighteen months after the band announced that they were recording a new album, Suede revealed the title of their ninth studio album as Autofiction, which was released via BMG on 16 September. Anderson denied these claims and insisted that Codling was healthy and that they were keen to record the next album. Which was a non-album single released midway between Suede and Dog Man Star, but it makes sense that that song getting airplay a couple of weeks before its release would reignite interest in the debut album.

Suede entered the British charts at number one, registering the biggest initial sales of a debut album since Frankie Goes to Hollywood's Welcome to the Pleasuredome a decade before. Anderson cites the surging outsiders anthem Trash as the pinnacle, but Beautiful Ones is more remarkable, the urgent, knotty wordplay of its verses giving way to an ecstatic chorus which embodies the album's title (the demo fascinatingly reveals that the song began life as Beatles-y whimsy).