1993年3月Suede 发行的这张同名专辑「Suede」，乐团开始声名大噪，被褒奖为「自从『性手枪 (The Sex Pistols)』的「Never Mind The Bolloks」专辑之后，最令人延颈企盼的专辑。」专辑发行后果然不负众望，各界好评蜂拥而来。专辑中至少有一首歌曲（例如 「Breakdown」）能荣膺史上所有单曲中的最佳歌曲榜之列，而其他的歌曲（例如 「So Young」、「The Next Life」），也可视为英雄式的另类颂歌。唱片销售量更是一举抢攻下冠军宝座，远远超过第二顺位的对手 Depeche Mode合唱团足足有4倍之多。也因此这张专辑成为自从1984年 Frankie Goes To Hollywood 合唱团的 「Welcome To The Pleasure Dome」专辑以来，销售速度最快的专辑：专辑发行后第二天即成为金唱片。随后Suede 也以这张同名专辑的优异表现，在该年赢得了 1993年的Mercury 音乐奖。 　　Borrowing heavily from David Bowie and the Smiths, Suede forge a distinctively seductive sound on their eponymous album. Guitarist Bernard Butler has a talent for crafting effortlessly catchy, crunching glam hooks like the controlled rush of "Metal Mickey" and the slow, sexy grind of "The Drowners," but he also can construct grand, darkly romantic soundscapes like the sighing "Sleeping Pills" and the tortured "Pantomime Horse." What brings these elegant sounds to life is Brett Anderson, who invests them with bed-sit angst and seamy sex. Anderson's voice is calculatedly affected and theatrical, but it fits the grand emotion of his self-consciously poetic lyrics. Suede are working-class lads striving for glamour, and they achieve it by piecing together remnants of the past with pieces of the present, never forgetting the value of a strong hook in the process. And while the sound of Suede frequently recalls the peak of glam rock, its punk-influenced passion and self-conscious appropriation of the past make it thoroughly postmodern. Coincidentally, its embrace of trashy pop helped usher in an era of Britpop, but few bands captured the theatrical melancholy that gave Suede such resonance.