ARTIST RESEARCH - Their Influences

Brett Anderson's 13 favourite Albums, mentions Bowie, Smiths, Björk, Velvet Underground:

http://thequietus.com/articles/07117-brett-anderson-suede-favourite-albums?page=1

DAVID BOWIE
Interview with Brett, says he looks like a young Jimmy Page.
The Low album cover could be seen a lot with Brett.

KATE BUSH
Hounds Of Love was the main inspiration musically for, and some of the dances quite possibly influenced Brett as well.

THE SMITHS
Dance moves, The Boy With The Thorn In His Side. 

LITERARY:

General Music, Literary Influences:

https://www.gigwise.com/features/105314/suede-brett-anderson-favourite-music-books-films-bowie-foals-tour

Is said to be influenced by J.G. Ballard a lot:
Wiki entry on the writer:

James Graham Ballard (15 November 1930 – 19 April 2009)^[3] was an English novelist, short story writer, and essayist. Born in an international settlement in Shanghai to British parents before his family emigrated to the UK, Ballard began writing in the 1950s, becoming associated with the New Wave of science fiction with post-apocalyptic novels such as The Wind from Nowhere (1961) and The Drowned World (1962). In the late 1960s, Ballard produced a variety of experimental short stories (or "condensed novels"), such as those collected in the controversial The Atrocity Exhibition(1970). In the mid 1970s, Ballard published several novels, among them the highly controversial Crash (1973), a story about symphorophilia and car crash fetishism, and High-Rise (1975), a depiction of a luxury apartment building's descent into violent chaos, paralleling the descent of 'western civilization' into medieval authoritarianism and proletarian chaos.
While much of Ballard's fiction would prove thematically and stylistically provocative,^[4] he became best known for his relatively conventional war novel, Empire of the Sun (1984), a semi-autobiographical account of a young British boy's experiences in Shanghai during Japanese occupation. Described by The Guardian as "the best British novel about the Second World War",^[5] the story was adapted into a 1987 film by Steven Spielberg starring Christian Bale. In the following decades until his death in 2009, Ballard's work shifted toward the form of the traditional crime novel. Several of his earlier works have been adapted into films, including David Cronenberg's controversial 1996 adaptation of Crash and Ben Wheatley's 2015 adaptation of High-Rise.
The literary distinctiveness of Ballard's fiction has given rise to the adjective "Ballardian", defined by the Collins English Dictionary as "resembling or suggestive of the conditions described in J. G. Ballard's novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments".^[6] The Oxford Dictionary of National Biography entry describes Ballard's work as being occupied with "eros, thanatos, mass media and emergent technologies".^[2]

Guardian article on his influences on music mentions Suede:

And while "Ballardian music" is outwardly anti-blues/anti-rockist, more conventional artists couldn't help but be inspired too. Suede's sound might have been a retro-leaning Bowie/Smiths homage, but their lyrics depicting high rises, asphalt underpasses and dysfunctional lovers adrift in the city are unashamedly Ballardian. 

Dazed article:

The early ‘90s saw Ballard’s brutalism become adopted by Suede, who tipped their hat on “High Rising”, the last single from their self-titled debut album. 

Google entry on Suede JG Ballard:

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ELECTRONIC PHASE

In a NME article it states that it had been reported the electronic sound of the album Head Music was influenced by these acts:

He has previously said the album was influenced by Asian Dub Foundation, Audioweb, Tricky, Prince and Lee ‘Scratch’ Perry and he told NME this influence is most evident on ‘Crack…’: “There’s a lot of rage in those sorts of bands, a sense that what people loved about punk those people have got hold of, because they feel like they’ve been mistreated. There’s a definite sense of disillusionment there. You can’t bandy words like ‘Union Jack’ around and it not be a political statement of some kind. I was aware of that. It’s meant to be a simple metaphor for people who hide behind nationalism, these pockets of dull existence hiding behind a jingoistic front

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