Antidepressants (album)
| Antidepressants | ||||
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| Released | 5 September 2025 | |||
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| Length | 39:34 | |||
| Label | BMG | |||
| Producer | Ed Buller | |||
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| Singles from Antidepressants | ||||
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Antidepressants is the tenth studio album by English rock band Suede, released on 5 September 2025 through BMG and produced by Ed Buller. Preceded by three singles and a live version of the title track, Antidepressants has been described as a post-punk and gothic rock album with themes such as mortality and human connection in a disconnected world, and it is intended to be the second in a trilogy of "black and white" albums, starting with Autofiction (2022). The album debuted on the UK Albums Chart at number 2 and was critically acclaimed upon release.
Background and recording
In 2025, frontman Brett Anderson revealed in Mojo magazine that before their previous album Autofiction (2022) was released, the band had initially intended for its follow-up to take an artier approach: a ballet soundtrack. However, upon the album's positive reception, the project was shelved, with only "Between an Atom and a Star" and "Life Is Endless, Life Is a Moment" repurposed for Antidepressants.[1]
In June 2024, before a performance at the Isle of Wight Festival, Anderson and bassist Mat Osman sat down for an interview with Ben Burrell for Absolute Radio, where the former revealed that the band was recording the album.[2] In a press release, he said that "If Autofiction was our punk record, Antidepressants is our post-punk record." Produced by Suede's longstanding producer Ed Buller, it was recorded between ICP Studios in Brussels, RAK and Sleeper Sounds Studios in London, and RMV Studio in Stockholm.[3]
Title and artwork
The album previously had the working title Broken Music for Broken People, which, like Antidepressants, is also the name of a track.[1] Anderson had also considered Suppression, which would have addressed both his feelings of being trapped in a "digital cage" and the "joyous moments" that nonetheless emerge from such suppression. He ultimately decided against that title, believing that it was too dark. Antidepressants was chosen so that it could take on a more literal interpretation: that in his life, music acts as an antidepressant.[4] The front cover alludes to a 1962 Vogue photograph taken by John Deakin of the artist Francis Bacon, in which he posed shirtless between two slabs of meat; the photo of Bacon is in turn a reference to his painting Figure with Meat.[5]
Composition
Style
Antidepressants has been described in reviews as post-punk[7][8] and gothic rock.[9] Like its predecessor, it took a guitar-led approach, with guitarist Richard Oakes at one point elaborating how the stylistic backdrop for Autofiction allowed him draw upon early influences such as Keith Levene, John McGeoch, the Fall, and Wire.[1] Anderson, inspired by contemporary bands' incorporation of spoken word vocals such as Dry Cleaning, Shame, and Yard Act,[10] occasionally performs in spoken word himself, like on the introduction to "Disaintegrate"[11] and on "June Rain".[7] In addition, the album also displays a further shift towards anthemic choruses. particularly when compared to Autofiction.[12] Typical of Suede albums, it also features ballads, such as "June Rain",[4] "Somewhere Between an Atom and Star", and "Life Is Endless, Life Is a Moment".[5] The latter closes the album with a heavily gothic-influenced sound, cited in Louder Than War for its "tribal drums, spooky low bass line, chiming guitars and ethereal keys".[6]
Themes and lyrics
There's certainly a sense of memento mori about the record. People might see it as morbid and macabre, but it's actually life-affirming: the reminder of death makes you aware of how precious life is. It's about the joy within a moment when you realise that life is fleeting and you have to live it to the full.
Antidepressants explores themes such as paranoia,[9][13] death,[8][14] and finding connection in a disconnected world.[4][12] At the onset, an automated voice says the phrase "connected, disconnected".[12] While the overall result is dark, both in tone and in subject matter,[15] the lyrics often employ a more optimistic perspective.[7] "Dancing with the Europeans", inspired by a gig in Spain that helped to bring Anderson out of a depressive state,[4] is a celebration of the connections that people have in an otherwise disconnected world.[7] On "Broken Music for Broken People", seen by critics as reminiscent of Suede's 1996 song "Trash",[4][16] it suggests that music offers the socially disenfranchised a means to connect.[17] "Sweet Kid" is a song of reassurances toward Anderson's son,[18] told from a frame of reference driven by an awareness of his own mortality.[4]
Promotion and singles

During the Isle of Wight Festival performance, Suede debuted Antidepressants's title track.[2] On 12 May 2025, the band released a video of a separate live performance of the song from July 2024 at Alexandra Palace, London.[9][19] One week later, Suede revealed the lead single, "Disintegrate", with a black and white music video directed by Chris Turner. The single was also accompanied with details of the album, including the title, artwork, release date, and track listing.[20] After releasing their second single "Trance State" on 11 June,[3] Suede premiered "Dancing with the Europeans" on 28 July with another video by Turner,[21] filmed during a gig at Bush Hall, London.[22]
On 26 August 2025, just ten days before its release, Suede performed the album in full at the Clore Ballroom in Southbank Centre, London, where they were scheduled to return in September for a week-long residency dubbed Suede Takeover. During the concert, Anderson shared that the band intends for Antidepressants to be the second part in a trilogy of "black and white" albums including Autofiction, with the third part to be released later in the decade.[23] On 19 October, Suede performed "Disintegrate" live on the BBC Two programme Later... with Jools Holland.[24] On 13 January 2026, Suede released "Sweet Kid" as the fourth single in anticipation of a UK tour. Promotionally, it was marketed as a double A-side single with "Antidepressants".[25]
Release
Antidepressants was released on 5 September 2025 through BMG.[6][20] In addition to standard physical formats (CD, vinyl, and cassette), a deluxe CD containing three bonus tracks was made available and packaged in a "Hessian slip case",[26] and the Japanese CD contains a separate bonus track entitled "Medication".[27] Prior to release, the September 2025 issue of the UK magazine Mojo included a 15-track covermount CD of Suede material with the title Outsiders: Live. Rare. Unreleased. 1990–2025, containing the aforementioned performance of "Antidepressants" at Alexandra Palace, a demo of "Disintegrate", and the album track "Criminal Ways".[28]
In the UK, Antidepressants had debuted at the top of the Official Charts' midweek update chart, and while it led in physical and digital sales by a considerable margin, the unavailability of Spotify data during much of the week obscured the number of sales-equivalent streams. Ultimately, Sabrina Carpenter's Man's Best Friend retained the number one position from the previous week. Antidepressants debuted on the UK Albums Chart at number two, selling 16,091 units in the first week, more than its predecessor Autofiction.[29] The album did, however, debut at number one on both the Scottish and UK Independent Albums Charts.[30] Additionally, it reached the top 10 in Austria[31] and in Belgium's Wallonia region,[32] and it charted within the top 40 in Belgium's Flanders region,[33] Finland,[34] Germany,[35] Ireland,[30] the Netherlands,[36] Spain,[37] and Switzerland.[38]
Critical reception
| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 8.3/10[39] |
| Metacritic | 89/100[40] |
| Review scores | |
| Source | Rating |
| Clash | 8/10[7] |
| Classic Pop | |
| The Guardian | |
| The Line of Best Fit | 9/10[15] |
| Louder Than War | |
| Mojo | |
| MusicOMH | |
| Record Collector | |
| Spill Magazine | |
| Uncut | 8/10[9] |
According to the review aggregator Metacritic, Antidepressants received "universal acclaim" based on a weighted average score of 89 out of 100 from 14 critic scores.[40] AnyDecentMusic?, another aggregator, gave it an average rating of 8.3 out of 10 from a sample of 18 critical reviews.[39]
In a five star review for Mojo magazine, Victoria Segal called it a "defiant, death-defying record – as much joyride as memento mori", saying Brett Anderson's voice "cuts through sharper and stranger than ever".[8] AllMusic's Matt Collar opined that with Antidepressants, Suede "conjure the striking urgency and stylism of their classic early work" whilst managing "to feel fresh" despite its influences, attributing much of this to "Anderson's soulful, poetic gravitas".[14] In Record Collector, Shawn Curran said that "Improbably, they've pulled off the rarest of feats: a middle-aged rock band who remain interesting and invigorated," singling out Richard Oakes as the "essential component".[4] In The Line of Best Fit, Matt Young said it felt "like a daring new beginning" for the group, concluding "Antidepressants is not about memory, it's real life now, trembling in its own imperfection. Not necessarily healing, it's just honest."[15] Emma Harrison, writing for Clash magazine, called it "subversive ... confrontational, unfiltered and arguably one of their most electrifying releases to date".[7]
In a review for Louder Than War, Wayne Carey thought that the album played on the band's strengths and achieved a similar quality to its predecessor Autofiction.[6] Claire Biddles of The Quietus praised the album for continuing to capture the feeling of "dynamism" they get from Suede's live performances. She analogised the band's trajectory since Autofiction to the transition from their debut Suede (1993) to Dog Man Star (1994), calling the album "a fine middle panel: a warp of the formula that is considered and progressive, if not as immediately thrilling".[5] In Classic Pop magazine, John Earls commented that, for a band roughly thirty years past their inception, "Few bands are able to maintain the pace [of Autofiction] and follow it with another LP if anything even more aligned to current thrills", taking sole exception to the comparatively "traditional" "Somewhere Between an Atom and a Star".[16] Jack Walters of PopMatters, in an 8 out of 10 review, went further in their praise of the track by calling it "the most powerful ending to an album that you are going to hear this year—if not this decade".[12]
Stephen Troussé of Uncut deemed it their "most unhinged, intoxicating Suede album since Coming Up, and boasts the best first side of a goth album since the Banshees' Juju"; while they rated it 8 out of 10, Troussé was more critical of the second half, feeling that it "can't quite maintain that pace".[9] In Spectrum Culture, Will Pinford wrote that despite the "variety and nuance" of the second half, "that unfortunately gives Antidepressants a slight sensation of losing momentum" in such a way that unnecessarily prolongs the listening experience. Pinford nonetheless considered it to be among Suede's best albums and that Anderson's performance, particularly on the closer, "stands as one of the best of his career to date".[18] In DIY, Louisa Dixon's main criticism pertained to lyrical repetition, specifically in "Dancing with the Europeans" and "Criminal Ways", but they thought it was "solid" and "pleasantly dense" overall.[43]
In light of the highly publicised reunions for Oasis and Pulp, both peers of the band during the Britpop era, Ben Hogwood of MusicOMH lauded Suede for their willingness to look forward and address more modern concerns, finishing their five-star review by saying "Antidepressants is a musical tour de force from a band at the very height of their powers."[13] In The Guardian, Dave Simpson similarly expressed that "Antidepressants is no throwback. It's thoroughly postmodern", adding in a four star review that they believe it is the band's best album since they reunited and "a late career triumph".[41]
Year-end lists
| Publication | List | Rank | Ref. |
|---|---|---|---|
| AllMusic | Favorite Rock & Metal Albums | N/A | [44] |
| BrooklynVegan | Top 40 Albums of 2025 | 9 | [45] |
| Classic Pop | The Best of 2025: New Albums | 3 | [46] |
| Classic Rock | Top 50 Albums of 2025 | 37 | [47] |
| The Guardian | The 50 Best Albums of 2025 | 13 | [48] |
| Flood Magazine | The Best Albums of 2025 | 40 | [49] |
| Louder Than War | Top 100 Albums of 2025 | 2 | [50] |
| Mojo | The 75 Best Albums of 2025 | 2 | [51] |
| Pitchfork | The 30 Best Rock Albums of 2025 | 30 | [52] |
| PopMatters | The 80 Best Albums of 2025 | 64 | [53] |
| The 30 Best Rock Albums of 2025 | 13 | [54] | |
| The Quietus | Albums of the Year 2025 | 21 | [55] |
| Record Collector | The Best of 2025: New Albums Top 25 | 3 | [56] |
| Stephen Thomas Erlewine | STE's Best Albums of 2025 | 1 | [57] |
| Uncut | Best New Albums of 2025 | 3 | [58] |
| Under the Radar | Top 100 Albums of 2025 | 9 | [59] |
Track listing
All tracks are written by Brett Anderson, Neil Codling, and Richard Oakes, except where noted.[60]
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Disintegrate" |
| 3:42 |
| 2. | "Dancing with the Europeans" |
| 3:45 |
| 3. | "Antidepressants" | 3:26 | |
| 4. | "Sweet Kid" | 2:59 | |
| 5. | "The Sound and the Summer" | 3:42 | |
| 6. | "Somewhere Between an Atom and a Star" | 2:50 | |
| 7. | "Broken Music for Broken People" |
| 3:11 |
| 8. | "Criminal Ways" |
| 2:27 |
| 9. | "Trance State" | 4:23 | |
| 10. | "June Rain" |
| 3:57 |
| 11. | "Life Is Endless, Life Is a Moment" |
| 5:12 |
| Total length: | 39:34 | ||
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 12. | "Dirty Looks" |
| 2:57 |
| 13. | "Sharpening Knives" | 3:38 | |
| 14. | "Overload" | 2:51 | |
| Total length: | 49:00 | ||
| No. | Title | Length |
|---|---|---|
| 12. | "Medication" |
Personnel
Credits are adapted from the deluxe CD liner notes.[60]
Suede
- Brett Anderson – vocals, design
- Mat Osman – bass
- Neil Codling – synthesiser, piano
- Richard Oakes – guitars
- Simon Gilbert – drums
Additional personnel
- Jordon Aniseed – additional vocals (tracks 1, 5, 7, 9)
- Ed Buller – production, engineering
- Giovanni Lando, Ben Webster, Sam Wilkins – engineering (ICP Studios)
- Jamie Sprosen – engineering (Sleeper Sounds)
- Vilma Colling, Linn Fijal, Nathalie Martinez – engineering (RMV Studio, 1–11)
- Sam Button – engineering (RAK Studios, 1–11)
- Andrew Scheps – mixing (Punkerpad UK and RAK, 1–11)
- Caesar Edmunds – mixing (Battery Studios, 12–14)
- Matt Colton – mastering (Metropolis Studios)
- Paul Khera – design
Charts
| Chart (2025) | Peak position |
|---|---|
| Austrian Albums (Ö3 Austria)[31] | 9 |
| Belgian Albums (Ultratop Flanders)[33] | 18 |
| Belgian Albums (Ultratop Wallonia)[32] | 9 |
| Croatian International Albums (HDU)[61] | 32 |
| Dutch Albums (Album Top 100)[36] | 34 |
| Finnish Albums (Suomen virallinen lista)[34] | 28 |
| French Albums (SNEP)[62] | 84 |
| French Rock & Metal Albums (SNEP)[63] | 5 |
| German Albums (Offizielle Top 100)[35] | 24 |
| German Rock & Metal Albums (Offizielle Top 100)[64] | 10 |
| Irish Albums (OCC)[30] | 36 |
| Irish Independent Albums (IRMA)[65] | 4 |
| Italian Albums (FIMI)[66] | 84 |
| Japanese Albums (Oricon)[67] | 47 |
| Japanese Rock Albums (Oricon)[68] | 13 |
| Scottish Albums (OCC)[30] | 1 |
| Spanish Albums (PROMUSICAE)[37] | 23 |
| Swedish Albums (Sverigetopplistan)[69] | 56 |
| Swiss Albums (Schweizer Hitparade)[38] | 14 |
| UK Albums (OCC)[30] | 2 |
| UK Independent Albums (OCC)[30] | 1 |
Notes
References
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- ^ "Outsiders: Live. Rare. Unreleased. 1990–2025". Mojo. No. 382 (September 2025). London: H Bauer Publishing. 15 July 2025. pp. 6–7. ISSN 1351-0193.
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External links
- Antidepressants at Discogs (list of releases)
