Brett Anderson is proving to be something of a disappointment. We’ve been warned that the former Suede frontman would rather not discuss the band’s messy history at length. His record company politely advises that we concentrate on The Tears, his new project with Bernard Butler. Otherwise, it is implied, there might be a scene.

This presents a bit of a conundrum since it was Butler’s extremely acrimonious departure which nearly derailed Suede a decade ago. It’s like being told you can interview George Bush provided you don’t dwell on that sticky Iraq business.
But Anderson, it turns out, isn’t at all a drama queen and happily natters about his “difficult” relationship with the guitarist. Having phoned him anticipating an entertaining strop, you feel almost let-down.
“We’ve got a history and there’s no point in denying that,” Anderson says. “You can’t run away from your own shadow. People will interpret The Tears in the light of what has happened between us in the past and we’ve got to accept that.”
A great deal of bitterness and spite flowed from the split with Butler, who walked out just as Suede had completed their masterpiece, Dogmanstar (pensive and retiring, he’d had enough of Suede’s libertine ways). For years this was the deepest rift in rock; that business between Morrissey and Marr seemed like a schoolyard tiff in comparison.
“It’s no secret that we left on bad terms. However, time heals all. I understand that other people are fascinated with the soap opera element of the relationship but it really isn’t an issue for us anymore. We’re glad to be working together again. “
Creative tension still crackles between the two but now it is put to use crafting compelling music – a point underscored by their debut album Here Come The Tears, a suite of grandiose torch-songs.
“Bernard brings different qualities to my songwriting. I’m not saying we’re inseparable. My favourite Suede album, Coming Up, was written without him. That said we do have a way of working together which I think is very special.”
Anderson acknowledges that theirs is one of those strange creative relationships where the understanding is almost entirely artistic. Whether they are best mates is irrelevant; what matters is that they continue to write beguiling songs together.
“As soon as Suede finished I knew I wanted to write with Butler again. He felt the same and we met a few times. Things took off from there – it was very natural and unplanned.”
For Suede fans the biggest jolt is surely the fresh directness of Anderson’s lyrics. On The Tear’s inaugural single, ‘Refugees’, he articulately bewails the treatment of foreigners in Britain. With immigration a doorstep issue in the Westminster elections the track fetches up on our airwaves at a contentious moment.
“It’s weird how things pan out. At the time I wrote that song I had no idea that it would be coming out at the same time as an election and that asylum seekers would be such a major issue. I think my lyrics have always been political in that they dealt with the politics between people. However, as I get older I do become more interested in writing about things I see happening in front of me. “
While The Tears could never sound like anything but the work of Anderson and Butler, they are keen for the project to be regarded as a fully-fledged band.
“When we got back together we were very clear that The Tears should be a very contemporary thing. There are five of us in the group and while understandably the focus is on me and Bernard it isn’t just about us,” says Anderson. “I’m sure the record company would have preferred for us to return as Anderson/Butler or something. But we’re not interested in dwelling on past achievements.”

The Tears preview Here Come The Tears at the Cathedral Arts Festival Marquee, Belfast on May 5.