ourselves to his CV, it was more kind of like where we were going to go with [the band]." In terms of writing for the album, Anderson said they had a structural way of doing it. Guitarist Bernard Butler would write guitar parts and melodies mostly on his own. He would then play these in the rehearsal room with bassist Mat Osman and drummer Simon Gilbert playing along. Anderson would then create vocal lines, which he would work on at home changing them to lyrics. These early recordings were done on a cassette recorder rather than a 4-track recorder. 4-track recorders would later be used during recording sessions for the album. During the early recordings, Butler said he was never fully aware of what lyrics Anderson was actually singing in rehearsals or at gigs until much later on. He was more focused on the melodies he was writing himself, saying: "I just always had the feeling that, if he's happy, I'm happy... if it's working, it's working and just go with it." Once the band had signed long-term to Nude/Sony in November 1992, the band began official recording of the album. The album was recorded late 1992 and early 1993 and cost £105,000 to make. Some tracks were recorded at Protocol and Angel Recording Studios, though the bulk of the album was recorded and mixed at Master Rock Studios as Buller got on well with the house engineer Gary Stout. In the studio, Buller's method of working was that he would form a close relationship with the band member whom he thought to be most important for the sound and creative input. In Suede's case it was guitarist Butler, which did not go down well with Anderson. Buller would be the band's closest musical collaborator for the years ahead. Anderson liked Buller as a person and for his enthusiasm for Suede. He endorsed his production on the first single "The Drowners"; however, he had different views on "Metal Mickey", feeling that Buller took the "metal brutality" out of the song. Instead of the song ending abruptly after the chorus, which the band demonstrated when performing live, Buller suggested an extended fade-out, which incorporated a key change. Anderson also had an issue with the song "Moving", saying "It never sounds as good on that album as it did live. There's hardly anything of the energy, it's over-produced, it's all a bit