Head Music is the fourth album by English alternative rock band Suede, released by Nude Records in May 1999. Produced and mixed by Steve Osborne, Head Music features a more electronic sound, which was a new approach for the band. The recording of Head Music was plagued with difficulties such as singer Brett Anderson's addiction to crack, and keyboardist Neil Codling's struggle with chronic fatigue syndrome. The album still went to number 1 on the UK Albums Chart, however, making it the band's third and final chart-topping album. Overall, the album received generally favourable reviews from critics. Background and recording After the release of the B-sides compilation Sci-Fi Lullabies, Suede decided to put themselves out of the limelight for over a year. Neil Codling spent most of the year in bed due to his illness and at the same time Anderson's drug abuse was becoming a cause for concern. Anderson began to associate himself with people outside the band's social circles, whom the band, especially Mat Osman, seemed to dislike. "More than anything there started to be a whole load of people he was associating with who I just couldn't stand. They had nothing to do with the band, nothing to do with anything but drugs. They were drug buddies." Suede decided to move on from Ed Buller as their producer. After demoing 15 songs with three different producers, wanting to go in a more produced, electronic-sounding direction, the group chose Steve Osborne to produce the album. Osborne had previously worked with the band Happy Mondays. According to Anderson, Head Music was Suede's most experimental album, and Osborne's role played into the group's experimentation, "Steve was responsible for a hell of a lot of this album's sound. We chose him first of all because he did this fucking brilliant job on 'Savoir Faire'... It just sounded really exciting and unusual." Osborne's involvement sparked rumours of Suede going in a dancier direction, which the band denied. Osman insisted it is “groovier” than their previous songs with some using only one or two chords, while Anderson said: “The last thing we wanted to do was some obvious attempt to make a dance album, because it would have sounded like shit.” Osborne was initially hired for one week of trial-run recording at Mayfair Studios, just to see how the process was going to work, or indeed if the two parties could work together.