The London Suede Antidepressants
The London Suede's Antidepressants arrives as a bruised, theatrical reaffirmation of the band’s strengths, marrying gothic grandeur to Britpop melodicism in a record that critics collectively call a late-career high point. Across ten professional reviews the album earned an 84.2/100 consensus score, with reviewers repeatedly pointing to opener “Disintegrate” and the title-track “Antidepressants” as immediate hooks, and songs like “Life Is Endless, Life Is A Moment”, “June Rain” and “Broken Music For Broken People” as the emotional payoffs. The quick verdict from critics suggests that, yes, Antidepressants largely succeeds where it matters - dramatic choruses, textured guitars and a duskily anthemic mood that balances spectacle and introspection.
Professional reviews emphasize recurring themes of modern disconnection, medicated/synthetic happiness, and mortality transmuted into song. Critics praise the record's post-punk revival energy and textural guitar work, noting how tracks such as “Disintegrate” and “Dancing With The Europeans” translate anxiety and theatricality into arena-ready payoff, while quieter pieces like “June Rain” and “Somewhere Between An Atom And A Star” provide elegiac closure. Reviewers consistently commend Brett Anderson's dramatic persona and Richard Oakes's serrated riffs for giving the album both menace and uplift, and several outlets frame the collection as a purposeful continuation rather than nostalgic retread.
Not all voices are unqualified: some critics flagged occasional lyrical repetition and moments where melodrama tips toward excess. Still, the critical consensus across these professional reviews positions Antidepressants as a compelling, emotionally resilient statement in Suede’s catalog—a record whose best tracks emerge clearly and which rewards repeated plays. For readers searching for an Antidepressants review or wondering what the best songs on Antidepressants are, critics point first to “Disintegrate”, “Antidepressants” and “Life Is Endless, Life Is A Moment” as the album's defining moments.
Critics' Top Tracks
The standout songs that made critics take notice
Disintegrate
10 mentions
"You will never be blithe and careless, he states on Disintegrate's skull-shaped call-to-arms"— Mojo
Life Is Endless, Life Is A Moment
8 mentions
"facing down the void on Life Is Endless, Life Is A Moment"— Mojo
June Rain
9 mentions
"the gorgeously epic "June Rain" which also has its foundations laid"— Under The Radar
You will never be blithe and careless, he states on Disintegrate's skull-shaped call-to-arms
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Disintegrate
Dancing With The Europeans
Antidepressants
Sweet Kid
The Sound And The Summer
Somewhere Between An Atom And A Star
Broken Music For Broken People
Criminal Ways
Trance State
June Rain
Life Is Endless, Life Is A Moment
What Critics Are Saying
Deep insights from 12 critics who reviewed this album
Critic's Take
The London Suede have fashioned on Antidepressants a dusky, autumnal record where the best songs - notably “Disintegrate” and “Dancing With The Europeans” - cut deepest. The reviewer insists that “Disintegrate” is an instant classic of Britpop, its Bowie-esque chorus and bleak lyricism making it a centerpiece, while “Dancing With The Europeans” is declared an even better, sharper tour de force. The album’s ballads like “Somewhere Between An Atom and a Star” and “June Rain” rank among Suede’s best recent work, delivering bitter, resonant poetry. Overall the record is praised as one of the band’s best, a sombre companion to their past triumphs that nonetheless pushes them forward.
Key Points
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“Disintegrate” is the best track for its Bowie-esque chorus, gothic aura and instant-classic status.
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The album’s core strengths are its textured post-punk atmospheres, Autumnal mood, and emotionally resonant songwriting.
Themes
Critic's Take
The London Suede sound reinvigorated on Antidepressants, a dramatic, post-punk statement that places the spotlight on the album's most potent moments. The reviewer's eye keeps returning to “Disintegrate” and “Life Is Endless, Life Is A Moment”, songs that pair claustrophobic instrumentation with emphatic choruses and theatrical finality. Elsewhere, “The Sound And The Summer” and “Criminal Ways” show Suede excelling at dark drama, while quieter pieces such as “June Rain” provide the emotional payoff. In short, the best tracks on Antidepressants are the ones that translate the record's themes of disconnection into vivid, arena-ready anthems and spectral, elegiac conclusions.
Key Points
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The best song(s) convert the album's themes of disconnection into colossal, anthemic post-punk statements.
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Antidepressants' core strengths are its gothic grandeur, punchy instrumentation, and theatrical, emotionally resonant finales.
Themes
mu
Critic's Take
In a tone that rarely mistakes mood for purpose, The London Suede deliver on Antidepressants with the bruised grandeur of “Dancing With The Europeans” and the aching sweep of “Life Is Endless, Life Is A Moment”. Dom Gourlay pegs the record as coarse and angular yet unmistakably Suede, praising how opener “Disintegrate” sets an intoxicating, discordant course and how the title track has become a live staple. The review singles out the anthemic lift of “Dancing With The Europeans” and the gorgeously epic closure of “June Rain”, arguing these best tracks underline the album's confident post-punk reinvention. Overall, the best songs on Antidepressants are those that marry Suede’s classic melodicism to this darker, more incisive palette.
Key Points
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Dancing With The Europeans is the best song for its anthemic build and magnitude.
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The album's core strengths are its confident post-punk reinvention and Suede's unmistakable melodicism fused with darker textures.
Themes
Critic's Take
The London Suede's Antidepressants reads like a post-punk sibling to Autofiction, all razor guitar anthems and bruised vocals, and the review makes it clear the best tracks are upfront. Opener “Disintegrate” is singled out as glorious, a direct invitation to "embrace mortality and decay", while the funereal “June Rain” carries a darker energy that lingers. Anderson's moods - impassioned to reflective - and Richard Oakes's killer riffs make “Disintegrate” and “June Rain” the album's emotional centrepieces. The reviewer frames Antidepressants as a late career triumph rather than a heritage curio, which is why these songs stand out as the best tracks on the album.
Key Points
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The opener "Disintegrate" is the best song because it crystallizes the album’s themes with a glorious, direct lyric and impassioned delivery.
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The album’s core strengths are its post-punk energy, Anderson’s emotional range, and Richard Oakes’s incisive guitar work.
Themes
Critic's Take
The London Suede make a vivid, bruised case on Antidepressants, where the best songs - especially “Disintegrate” and “Dancing With The Europeans” - trade menace for moments of euphoria. Emma Harrison's review leans into the record's post-punk puissance and intimate confessions, noting how “Antidepressants” itself offers lines that turn confession into salvation. The closing “Life Is Endless, Life Is A Moment” is called a powerful crescendo, capping an album that is confrontational, unfiltered and electrifying.
Key Points
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Disintegrate is best because it opens with visceral, driving menace that sets the album’s urgent tone.
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The album’s strengths are its blend of post-punk puissance, intimate confession, and a persistent thread of human connection.
Themes
Critic's Take
In this review Brett Anderson is again a theatrical centre, and The London Suede on Antidepressants moulds melodrama into something quietly searing. The review repeatedly singles out “Antidepressants”, “Disintegrate” and “Trance State” as the record's clearest payoffs - the title track's chorus is streamlined like a pill, “Disintegrate” reworks Autofiction's opener into inward existential theatre, and “Trance State” supplies New Order-esque synthesis. The critic's tone is admiring but measured, calling this a fine middle panel in a new triptych rather than an outright masterpiece.
Key Points
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The title track is best because its recorded brutality and chorus construction embody the album’s thematic blend of theatrics and synthetic solace.
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The album’s core strengths are theatrical performance, smart production manipulation of ambient noise, and consistent dynamism that captures Suede’s live energy.
Themes
Critic's Take
The London Suede's Antidepressants trades in nostalgia while refusing to rewrite the rulebook, and the best songs on the record - notably “Broken Music For Broken People” and “June Rain” - spotlight that balance. Louisa Dixon leans into the album's centrepiece as a standout that channels the band's '90s megahits, and she frames opener “Disintegrate” and closer “Life Is Endless, Life Is A Moment” as shape-setting bookends. The review praises moments of instant nostalgia and Joy Division-esque agitation, while also flagging occasional lyrical repetition in songs like “Criminal Ways” and “Dancing With The Europeans” that undercuts their aims. Overall the tone treats Antidepressants as a solid, pleasantly dense record with clear best tracks to recommend to new listeners and long-term fans alike.
Key Points
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The best song is 'Broken Music For Broken People' because it is called the centrepiece and standout, directly compared to the band's '90s hits.
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The album's core strengths are its nostalgic resonance and confident continuation of the band's established sound, balanced against occasional lyrical overreach.
Themes
Critic's Take
The London Suede sound positively electric on Antidepressants, a record that rallies damaged troops and refuses easy consolation. Segal’s review singles out “Broken Music For Broken People” as a clarion call and celebrates the euphoric fugue of “Dancing With The Europeans” as one of the album's high points. She frames “Disintegrate” as a skull-shaped call-to-arms, which helps explain why listeners asking "best songs on Antidepressants" will be pointed to those three tracks. The tone is defiant and celebratory, insisting this is as much a joyride as a memento mori.
Key Points
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The best song is "Broken Music For Broken People" because it is described as rallying damaged troops and encapsulates the album's emotional thrust.
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The album's strengths are its post-punk energy, Brett Anderson's sharper-than-ever vocal delivery, and the mix of exhilaration and mortality.
Themes
Critic's Take
The London Suede arrive with Antidepressants as a daring new beginning rather than a late-career coda, and the best tracks - notably “Disintegrate” and “Somewhere Between An Atom And A Star” - crystallize that tension between raw electricity and elegiac tenderness. Matt Young's review emphasises how “Disintegrate” flings the band into melee with visceral anthemry while quieter moments like “Somewhere Between An Atom And A Star” and “Life Is Endless, Life Is a Moment” offer refined elegance. The title track “Antidepressants” is singled out for its angular, icy production and post-punk interpolation, making these songs the obvious best tracks on Antidepressants. The record trades consolation for confrontation, and those standout songs make that deliberate darkness feel vital rather than indulgent.
Key Points
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“Disintegrate” is the best track for its thunderous, visceral opening and urgent reframing of fear.
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The album's core strengths are its raw post-punk energy balanced with intimate, elegiac moments and precise, weary vocals.
Critic's Take
The London Suede have finally embraced the gothic inheritance on Antidepressants, and the best tracks - “Disintegrate”, “Antidepressants” and “Somewhere Between An Atom And A Star” - show them at their most intoxicating and unhinged. The opening trio, from the brutal riff of “Disintegrate” into the surging sequence that includes “Antidepressants”, could be the best side of a goth album since Juju, a desolate wave that keeps growing ever grander. Richard Oakes’s radiance gives the songs their serrated edge, and the grandly languid sweep of “Somewhere Between An Atom And A Star” confirms this is goth done with thrilling heedless grandiosity. Even when the second side softens into chest-beating nostalgia, standouts like “Broken Music For Broken People” and “June Rain” prove Suede are goth for life.
Key Points
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The best song is the opening run led by "Disintegrate" for its brutal riff, stately vocal and irresistible momentum.
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The album's core strength is its wholehearted goth grandiosity married to Richard Oakes's luminous guitar work and theatrical lyricism.