Taken from the album's 20th anniversary reissue

Bush have shared a never-before-released ‘Razorblade Suitcase’ track ‘Sleeper’ in anticipation of the album’s 20th anniversary reissue.

The album was produced by Steve Albini and recorded at London’s Abbey Road Studios. It debuted at No. 1 on the Billboard 200 and produced singles such as ‘Swallowed’ and ‘Greedy Fly’.

Bush announced a digital reissue due of ‘Razorbalde Suitcase’ which is set for release on December 16 via Round Hill/Zuma Rock Records.

Sleeper by BUSHofficial

Bonus Track from “Razorblade Suitcase: In Addition” 20th Anniversary edition available December 16, 2016.

The album will be remastered and is set to include four rare bonus tracks: ‘Old’, ‘Broken TV’, ‘Bubbles’, and ‘Sleeper’. While the first three have previously been released, ‘Sleeper’ has never been shared with fans. Listen to it above.

The vinyl reissue won’t be availbale until 2017. It will be pressed on 180 gram black and white swirl vinyl, presented in a metallic silver gatefold cover complete with re-interpreted artwork, a poster of lyrics (including three songs that weren’t on the original), and liner notes from Albini. You can read the linear notes below via CoS:

“Writing in a time of profound cultural upheaval, it remains there has always been a dichotomy between British and American bands. At least according to their self-mythology, American bands start in garages and work their way through an exhausting gauntlet of battles-of-the-bands, teen dances, club shows and heavy touring, hoping to earn a profile that warrants making records. If there’s a defining characteristic of American bands it’s a proud work ethic and willingness to prove themselves as live performers.

“The origin myth of the British band starts with a conversation about empire over Pimms cups at Wimbledon, or when the coolest guy in the art college finds his voice and assembles a cravat-wearing backing band of guys named Nigel and Simon. With a slick manager and some connections, a career could be arranged, in the manner one lands an entry position at Barclays; school ties and all that. What what. British bands emphasized style and cool, and playing live was little more than a necessary chore. If American bands were Paul Bunyan, the British bands were Little Lord Fauntleroy.

“The Fauntleroys had an entire industry playing along, led by the tastemakers in the music press, ever elevating the coolest of the cool and most connected to superstar status, keeping the rest hungry and supplicating for attention. It’s hard to imagine now, since there’s not much left of “the press,” much less the music press, but papers like Sounds, NME and Melody Maker for decades remained capable of creating sensations around bands and music that nobody had yet heard, sometimes before it had even been written.

“The crowning achievement of this method was the uniquely British band Oasis. Their first album was trumpeted for months by the press as the savior of UK music, and despite nobody ever having heard them, they topped favorite band lists. Their album entered the charts at no 1 and they were instantly a top tier act on the festival circuit, the plug-and-play standard for live exposure for Fauntleroys since the 1960s. A single festival show might expose a band to as many as 50,000 people, and with a half-dozen of those one could consider live exposure solved for a year, or at least until Australia or Belgium expressed interest.

“In contrast, the American scene had little that was monolithic. MTV may have served as a catalyst in the 80s and early 90s for bands with a striking visual image, but the meat and potatoes of the music scene in America has always been the touring circuit. Bands play shows, not festivals, town by town, mile by mile, earning attention. To see 50,000 faces live required 50 or 100 individual shows and months of planning, booking and travel. That hard-won attention was eventually reflected in radio playlists, while prone to short-term manipulation tended to reflect the tastes of the audiences they served. If a band proved popular, they would eventually get played on the radio, even if British. Or named the Butthole Surfers.

“The differences in methodology weren’t lost on those in the thick of it. British bands often saw “cracking” America as a kind of final stamp of legitimacy, but when the cold reality of it struck them, that their hype ninjas had no influence and they’d need to dedicate months or years of their lives to traveling town to town playing in front of people a few dozen at a time, the stunned response was usually, “what, play LIVE, like performing monkeys? In… in BARS?””