domingo, 17 de octubre de 2021

𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 & 𝐀𝐌𝐘 𝐋𝐄𝐄 𝐚𝐭 𝟐𝟎𝟎𝟒 𝐌𝐓𝐕 𝐄𝐌𝐀

On November 18th, 2004, Brian took part in the 𝟐𝟎𝟎𝟒 𝐌𝐓𝐕 đ„đźđ«đšđ©đž 𝐌𝐼𝐬𝐱𝐜 đ€đ°đšđ«đđŹ that were held at Tor di Valle Racecourse in đ‘č𝒐𝒎𝒆, Italy. Together with Amy Lee of Evanescence, he presented the 𝐁𝐞𝐬𝐭 đ€đ„đ­đžđ«đ§đšđ­đąđŻđž nominees. The winners, 𝐌𝐼𝐬𝐞, accepted an award from Brian’s hands.
Other artists nominated as the Best Alternative acts were Björk, Franz Ferdinand, The Hives and The Prodigy.

Photo credit: Jo Hale, 2004 MTV EMA

đđ«đąđšđ§ đŒđšđ„đ€đš & 𝐀𝐩đČ 𝐋𝐞𝐞 - 𝟐𝟎𝟎𝟒 𝐌𝐓𝐕 𝐄𝐌𝐀
https://bit.ly/3zCGwHz

𝐓𝐡𝐞 đ‚đźđ«đž performed a set of nine songs at the pre-show, including Boys Don't Cry and Let's Go to Bed which Placebo once did their covers of.
đđ„đšđœđžđ›đš 𝐟𝐞𝐚𝐭. đ‘đšđ›đžđ«đ­ 𝐒𝐩𝐱𝐭𝐡 - 𝐁𝐹đČ𝐬 𝐝𝐹𝐧’𝐭 đ‚đ«đČ, đ–đžđŠđ›đ„đžđČ đ€đ«đžđ§đš, 𝟐𝟎𝟎𝟒
https://bit.ly/3Dn0E2p

đđ„đšđœđžđ›đš - 𝐋𝐞𝐭'𝐬 𝐆𝐹 𝐓𝐹 𝐁𝐞𝐝 (𝐓𝐡𝐞 đ‚đźđ«đž đœđšđŻđžđ«), 𝐈-𝐃𝐚đČ𝐬 đ…đąđžđ«đš đŒđąđ„đšđ§đš, 𝟐𝟎𝟏𝟖
https://bit.ly/3mElrsh

𝐓𝐡𝐞 đ‚đźđ«đž – 𝟐𝟎𝟎𝟒 𝐌𝐓𝐕 𝐄𝐌𝐀, 𝐑𝐹𝐩𝐞, đ…đźđ„đ„ 𝐬𝐞𝐭
https://bit.ly/3gEwePq

Photo credit unknown

đ‘č𝒐𝒃𝒆𝒓𝒕 đ‘ș𝒎𝒊𝒕𝒉 also introduced Gwen Stefani during the main show of the event.
The Cure’s video for 𝐓𝐡𝐞 𝐄𝐧𝐝 𝐹𝐟 𝐓𝐡𝐞 đ–đšđ«đ„đ was nominated at the Best Video category; they didn’t win though.

Linkin Park’s đ‘Ș𝒉𝒆𝒔𝒕𝒆𝒓 đ‘©đ’†đ’đ’đ’Šđ’đ’ˆđ’•đ’đ’ together with Natasha Bedingfield and Joe Hahn presented Best Female nominees.
Placebo crossed paths with đ‹đąđ§đ€đąđ§ đđšđ«đ€ quite a few times, they played some festivals together, traveled over the US during Projekt Revolution tour 2007 and just shared a nice friendly attitude towards each other.
I hope you liked this short story behind this beautiful picture of Brian and Amy.

Post by Olga

sĂĄbado, 16 de octubre de 2021

❣️𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 ❣️

✨ Last tuesday was the 𝟐𝟑𝒓𝒅 anniversary of the release of đ‘·đ’đ’‚đ’„đ’†đ’ƒđ’'s emblematic album "đ‘Ÿđ’Šđ’•đ’‰đ’đ’–đ’• 𝒀𝒐𝒖 𝑰'𝒎 đ‘”đ’đ’•đ’‰đ’Šđ’đ’ˆ". For this reason, today I want to share with you an đąđ§đ­đžđ«đŻđąđžđ° 𝐰𝐱𝐭𝐡 đđ«đąđšđ§ đŒđšđ„đ€đš about this album that I found while I was preparing my posts. It is curious that there was only the text and no details of the source or who did it, even so I cons ider it a 100 percent real interview. I'd never read it before and maybe you haven't either, so here you go dear soulmates. I hope you enjoy reading it. 😊

Photo credit: Kevin Westenberg

❣️𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 🚬 ❣️

đ˜đ˜” đ˜©đ˜ąđ˜Ž 𝘱 đ˜­đ˜°đ˜” 𝘰𝘧 đ˜źđ˜°đ˜°đ˜„đ˜Žđ˜žđ˜Ș𝘯𝘹 𝘭đ˜ș𝘳đ˜Șđ˜€đ˜Ž đ˜”đ˜©đ˜ąđ˜” đ˜Žđ˜”đ˜Șđ˜źđ˜¶đ˜­đ˜ąđ˜”đ˜Š 𝘼𝘩, đ˜”đ˜©đ˜Š đ˜źđ˜¶đ˜Žđ˜Șđ˜€ đ˜Ș𝘮 đ˜€đ˜ąđ˜¶đ˜Žđ˜”đ˜Șđ˜€, đ˜”đ˜©đ˜Š đ˜Žđ˜”đ˜ș𝘭𝘩 đ˜Žđ˜°đ˜źđ˜Šđ˜”đ˜Ș𝘼𝘩𝘮 𝘱𝘼𝘣đ˜Șđ˜šđ˜¶đ˜°đ˜¶đ˜Žđ˜­đ˜ș đ˜€đ˜°đ˜°đ˜­, đ˜ąđ˜Żđ˜„ đ˜șđ˜°đ˜¶’𝘭𝘭 đ˜€đ˜ąđ˜”đ˜€đ˜© đ˜șđ˜°đ˜¶đ˜łđ˜Žđ˜Šđ˜­đ˜§ đ˜Žđ˜°đ˜łđ˜” 𝘰𝘧 đ˜€đ˜°đ˜Żđ˜”đ˜łđ˜°đ˜­đ˜Šđ˜Žđ˜Žđ˜­đ˜ș 𝘮đ˜Ș𝘯𝘹đ˜Ș𝘯𝘹 đ˜”đ˜©đ˜Š đ˜·đ˜°đ˜€đ˜ąđ˜­đ˜Ž. đ˜›đ˜©đ˜Š đ˜Łđ˜ąđ˜Żđ˜„ đ˜Ș𝘮 𝘉𝘳đ˜Ș𝘱𝘯 𝘔𝘰𝘭𝘬𝘰 (đ˜­đ˜Šđ˜ąđ˜„ đ˜·đ˜°đ˜€đ˜ąđ˜­đ˜Ž/đ˜šđ˜¶đ˜Șđ˜”đ˜ąđ˜ł), đ˜šđ˜”đ˜Šđ˜·đ˜Š 𝘏𝘩𝘾đ˜Șđ˜”đ˜” (đ˜„đ˜łđ˜¶đ˜źđ˜Ž) đ˜ąđ˜Żđ˜„ đ˜šđ˜”đ˜Šđ˜±đ˜©đ˜ąđ˜Ż đ˜–đ˜­đ˜Žđ˜„đ˜ąđ˜­ (đ˜šđ˜¶đ˜Șđ˜”đ˜ąđ˜łđ˜Șđ˜Žđ˜”/𝘣𝘱𝘮𝘮đ˜Șđ˜Žđ˜”). đ˜ˆđ˜±đ˜±đ˜ąđ˜łđ˜Šđ˜Żđ˜”đ˜­đ˜ș đ˜”đ˜©đ˜Šđ˜ș’𝘳𝘩 đ˜Čđ˜¶đ˜Șđ˜”đ˜Š đ˜”đ˜©đ˜Š 𝘜𝘒 đ˜©đ˜Șđ˜”, đ˜Łđ˜¶đ˜” 𝘐 đ˜„đ˜°đ˜Ż’đ˜” đ˜”đ˜©đ˜Ș𝘯𝘬 đ˜”đ˜©đ˜ąđ˜” đ˜”đ˜©đ˜Šđ˜Ș𝘳 đ˜źđ˜¶đ˜Žđ˜Șđ˜€ 𝘧đ˜Șđ˜”đ˜Ž đ˜Șđ˜Żđ˜”đ˜° đ˜”đ˜©đ˜ąđ˜” đ˜€đ˜¶đ˜łđ˜łđ˜Šđ˜Żđ˜” 𝘉𝘳đ˜Șđ˜” đ˜€đ˜­đ˜Șđ˜€đ˜©đ˜Š́ đ˜Žđ˜°đ˜¶đ˜Żđ˜„. đ˜—đ˜­đ˜ąđ˜€đ˜Šđ˜Łđ˜° đ˜Ș𝘮 𝘼𝘰𝘳𝘩 đ˜Šđ˜„đ˜šđ˜ș đ˜ąđ˜Żđ˜„ đ˜Šđ˜€đ˜­đ˜Šđ˜€đ˜”đ˜Șđ˜€. đ˜žđ˜©đ˜Šđ˜Ż 𝘐 đ˜©đ˜Šđ˜ąđ˜łđ˜„ đ˜”đ˜©đ˜ąđ˜” 𝘐 𝘾𝘱𝘮 𝘹𝘰đ˜Ș𝘯𝘹 đ˜”đ˜° 𝘮𝘩𝘩 đ˜”đ˜©đ˜Šđ˜ź đ˜°đ˜±đ˜Šđ˜Ż 𝘧𝘰𝘳 đ˜šđ˜”đ˜ąđ˜Łđ˜Łđ˜Ș𝘯𝘹 đ˜žđ˜Šđ˜Žđ˜”đ˜žđ˜ąđ˜łđ˜„ đ˜ąđ˜” đ˜‘đ˜ąđ˜Żđ˜Żđ˜¶đ˜Ž đ˜“đ˜ąđ˜Żđ˜„đ˜Ș𝘯𝘹 đ˜ąđ˜Żđ˜„ đ˜”đ˜©đ˜ąđ˜” 𝘐 𝘾𝘱𝘮 đ˜Șđ˜Żđ˜”đ˜Šđ˜łđ˜·đ˜Ș𝘩𝘾đ˜Ș𝘯𝘹 đ˜šđ˜”đ˜Šđ˜±đ˜©đ˜ąđ˜Ż đ˜–đ˜­đ˜Žđ˜„đ˜ąđ˜­ 𝘣𝘩𝘧𝘰𝘳𝘩 đ˜”đ˜©đ˜Š đ˜Žđ˜©đ˜°đ˜ž, 𝘾𝘩𝘭𝘭, 𝘐 đ˜šđ˜°đ˜” 𝘱𝘯đ˜čđ˜Șđ˜°đ˜¶đ˜Ž đ˜ąđ˜Żđ˜„ 𝘾𝘩đ˜Șđ˜łđ˜„.


𝘈𝘮đ˜Șđ˜„đ˜Š 𝘧𝘳𝘰𝘼 đ˜”đ˜©đ˜Š đ˜§đ˜ąđ˜€đ˜” đ˜”đ˜©đ˜ąđ˜” 𝘐 đ˜©đ˜ąđ˜„ đ˜Żđ˜Šđ˜·đ˜Šđ˜ł đ˜„đ˜°đ˜Żđ˜Š 𝘱𝘯 đ˜Șđ˜Żđ˜”đ˜Šđ˜łđ˜·đ˜Ș𝘩𝘾 𝘣𝘩𝘧𝘰𝘳𝘩, 𝘐’đ˜„ 𝘱𝘭𝘮𝘰 𝘣𝘩𝘩𝘯 𝘹đ˜Șđ˜·đ˜Šđ˜Ż đ˜”đ˜©đ˜Š đ˜°đ˜±đ˜±đ˜°đ˜łđ˜”đ˜¶đ˜Żđ˜Șđ˜”đ˜ș đ˜”đ˜° đ˜ąđ˜€đ˜”đ˜¶đ˜ąđ˜­đ˜­đ˜ș đ˜Șđ˜Żđ˜”đ˜Šđ˜łđ˜·đ˜Ș𝘩𝘾 𝘱 đ˜Łđ˜ąđ˜Żđ˜„ đ˜”đ˜©đ˜ąđ˜” 𝘐’đ˜„ 𝘱 đ˜šđ˜Šđ˜Żđ˜¶đ˜Ș𝘯𝘩 đ˜Șđ˜Żđ˜”đ˜Šđ˜łđ˜Šđ˜Žđ˜” đ˜Ș𝘯. 𝘐 đ˜„đ˜Șđ˜„ 𝘮𝘰𝘼𝘩 đ˜łđ˜Šđ˜Žđ˜Šđ˜ąđ˜łđ˜€đ˜© 𝘰𝘯 đ˜”đ˜©đ˜Š đ˜đ˜Żđ˜”đ˜Šđ˜łđ˜Żđ˜Šđ˜” đ˜ąđ˜Żđ˜„ đ˜”đ˜łđ˜Șđ˜Šđ˜„ đ˜”đ˜° đ˜§đ˜°đ˜€đ˜¶đ˜Ž đ˜”đ˜©đ˜Š đ˜Žđ˜Šđ˜ąđ˜łđ˜€đ˜© 𝘰𝘯 đ˜–đ˜­đ˜Žđ˜„đ˜ąđ˜­ đ˜Łđ˜¶đ˜” đ˜źđ˜°đ˜Žđ˜” đ˜Șđ˜Żđ˜”đ˜Šđ˜łđ˜·đ˜Ș𝘩𝘾𝘮 𝘾𝘩𝘳𝘩 𝘾đ˜Șđ˜”đ˜© 𝘉𝘳đ˜Ș𝘱𝘯 𝘔𝘰𝘭𝘬𝘰. đ˜ˆđ˜±đ˜±đ˜ąđ˜łđ˜Šđ˜Żđ˜”đ˜­đ˜ș đ˜©đ˜Š 𝘾𝘱𝘮 đ˜„đ˜Ș𝘧𝘧đ˜Șđ˜€đ˜¶đ˜­đ˜” đ˜ąđ˜Żđ˜„ đ˜Žđ˜Šđ˜·đ˜Šđ˜łđ˜Šđ˜­đ˜ș đ˜¶đ˜Żđ˜±đ˜łđ˜Šđ˜„đ˜Șđ˜€đ˜”đ˜ąđ˜Łđ˜­đ˜Š, 𝘱𝘭𝘾𝘱đ˜ș𝘮 đ˜šđ˜­đ˜ąđ˜źđ˜źđ˜Šđ˜„ đ˜°đ˜¶đ˜” đ˜Ș𝘯 𝘾𝘰𝘼𝘩𝘯’𝘮 đ˜€đ˜­đ˜°đ˜”đ˜©đ˜Šđ˜Ž đ˜ąđ˜Żđ˜„ 𝘼𝘱𝘬𝘩-đ˜¶đ˜±, đ˜ąđ˜Żđ˜„ đ˜©đ˜Š’𝘮 đ˜€đ˜°đ˜Żđ˜Žđ˜”đ˜ąđ˜Żđ˜”đ˜­đ˜ș đ˜Žđ˜¶đ˜€đ˜Źđ˜Ș𝘯𝘹 đ˜„đ˜°đ˜žđ˜Ż đ˜·đ˜°đ˜„đ˜Źđ˜ą đ˜€đ˜łđ˜ąđ˜Żđ˜Łđ˜Šđ˜łđ˜łđ˜Ș𝘩𝘮. đ˜đ˜ąđ˜·đ˜Ș𝘯𝘹 đ˜©đ˜Šđ˜ąđ˜łđ˜„ đ˜©đ˜Ș𝘮 đ˜·đ˜°đ˜€đ˜ąđ˜­đ˜Ž đ˜ąđ˜Żđ˜„ 𝘭đ˜ș𝘳đ˜Șđ˜€đ˜Ž, 𝘱𝘭𝘭 𝘰𝘧 đ˜”đ˜©đ˜ąđ˜” đ˜€đ˜°đ˜¶đ˜­đ˜„ đ˜©đ˜ąđ˜·đ˜Š 𝘣𝘩𝘩𝘯 đ˜”đ˜łđ˜¶đ˜Š, đ˜ąđ˜­đ˜”đ˜©đ˜°đ˜¶đ˜šđ˜© 𝘐 đ˜Żđ˜Šđ˜·đ˜Šđ˜ł đ˜žđ˜ąđ˜Żđ˜” đ˜”đ˜° 𝘭đ˜Ș𝘬𝘩 đ˜”đ˜©đ˜°đ˜Žđ˜Š 𝘱𝘯𝘯𝘰đ˜șđ˜Ș𝘯𝘹 đ˜±đ˜łđ˜Șđ˜źđ˜ąđ˜„đ˜°đ˜Żđ˜Żđ˜ą đ˜”đ˜șđ˜±đ˜Šđ˜Ž. 𝘚𝘰, 𝘐 đ˜€đ˜ąđ˜źđ˜Š đ˜¶đ˜± 𝘾đ˜Șđ˜”đ˜© đ˜Čđ˜¶đ˜Šđ˜Žđ˜”đ˜Ș𝘰𝘯𝘮 đ˜Żđ˜°đ˜” đ˜Šđ˜Żđ˜”đ˜Ș𝘳𝘩𝘭đ˜ș đ˜ąđ˜Łđ˜°đ˜¶đ˜” 𝘔𝘰𝘭𝘬𝘰, đ˜„đ˜Šđ˜Žđ˜±đ˜Șđ˜”đ˜Š 𝘼đ˜ș 𝘹đ˜Șđ˜ąđ˜Żđ˜” đ˜±đ˜Šđ˜łđ˜Žđ˜°đ˜Żđ˜ąđ˜­ đ˜€đ˜¶đ˜łđ˜Ș𝘰𝘮đ˜Șđ˜”đ˜ș đ˜ąđ˜Łđ˜°đ˜¶đ˜” đ˜©đ˜Ș𝘼. đ˜đ˜°đ˜žđ˜Šđ˜·đ˜Šđ˜ł, đ˜€đ˜°đ˜Șđ˜Żđ˜€đ˜Șđ˜„đ˜Šđ˜Żđ˜”đ˜ąđ˜­đ˜­đ˜ș, 𝘱𝘮 𝘮𝘰𝘰𝘯 𝘱𝘮 𝘾𝘩 đ˜Žđ˜©đ˜°đ˜žđ˜Šđ˜„ đ˜¶đ˜±, đ˜”đ˜©đ˜Š đ˜”đ˜°đ˜¶đ˜ł 𝘼𝘱𝘯𝘱𝘹𝘩𝘳 đ˜”đ˜°đ˜­đ˜„ đ˜¶đ˜Ž 𝘐’đ˜„ 𝘣𝘩 đ˜”đ˜ąđ˜­đ˜Źđ˜Ș𝘯𝘹 𝘧𝘰𝘳 đ˜©đ˜ąđ˜­đ˜§ 𝘱𝘯 đ˜©đ˜°đ˜¶đ˜ł 𝘾đ˜Șđ˜”đ˜© 𝘔𝘰𝘭𝘬𝘰, đ˜Żđ˜°đ˜” đ˜–đ˜­đ˜Žđ˜„đ˜ąđ˜­.


𝘐 𝘾𝘱𝘮 𝘱 đ˜­đ˜¶đ˜€đ˜Źđ˜ș đ˜„đ˜ąđ˜źđ˜Ż đ˜€đ˜°đ˜°đ˜­ đ˜Żđ˜Šđ˜łđ˜·đ˜°đ˜¶đ˜Ž đ˜Žđ˜©đ˜Șđ˜” đ˜©đ˜ąđ˜±đ˜±đ˜ș 𝘣đ˜Șđ˜”đ˜€đ˜©. đ˜–đ˜Żđ˜€đ˜Š đ˜Ș𝘯𝘮đ˜Șđ˜„đ˜Š đ˜”đ˜©đ˜ąđ˜” 𝘳đ˜Șđ˜”đ˜»đ˜ș đ˜«đ˜°đ˜Șđ˜Żđ˜” 𝘯𝘩đ˜čđ˜” đ˜”đ˜° đ˜‘đ˜ąđ˜Żđ˜Żđ˜¶đ˜Ž, (đ˜¶đ˜Žđ˜Šđ˜„ đ˜”đ˜° 𝘣𝘩 đ˜Šđ˜­đ˜¶đ˜Ł đ˜‹đ˜Šđ˜”đ˜łđ˜°đ˜Șđ˜”) 𝘾𝘩 đ˜©đ˜Šđ˜ąđ˜„ đ˜Žđ˜”đ˜łđ˜ąđ˜Șđ˜šđ˜©đ˜” 𝘧𝘰𝘳 đ˜”đ˜©đ˜Š 𝘣𝘱𝘳 đ˜ąđ˜Żđ˜„ 𝘐 đ˜°đ˜łđ˜„đ˜Šđ˜łđ˜Šđ˜„ 𝘱 đ˜„đ˜°đ˜¶đ˜Łđ˜­đ˜Š đ˜·đ˜°đ˜„đ˜Źđ˜ą đ˜€đ˜łđ˜ąđ˜Żđ˜Łđ˜Šđ˜łđ˜łđ˜ș -- 𝘧𝘰𝘳 𝘼𝘩 đ˜Żđ˜°đ˜” đ˜©đ˜Ș𝘼. đ˜›đ˜©đ˜Š 𝘾𝘱đ˜Șđ˜” 𝘾𝘱𝘮𝘯’đ˜” 𝘭𝘰𝘯𝘹 đ˜ąđ˜” 𝘱𝘭𝘭, đ˜ąđ˜Żđ˜„ đ˜žđ˜©đ˜Šđ˜Ż đ˜©đ˜Š đ˜Žđ˜©đ˜°đ˜žđ˜Šđ˜„ đ˜¶đ˜± 𝘐’đ˜„ 𝘣𝘱𝘳𝘩𝘭đ˜ș đ˜łđ˜Šđ˜€đ˜°đ˜šđ˜Żđ˜Șđ˜»đ˜Šđ˜„ đ˜©đ˜Ș𝘼. 𝘏𝘩’𝘮 đ˜·đ˜Šđ˜łđ˜ș 𝘮𝘭đ˜Șđ˜šđ˜©đ˜”, đ˜ąđ˜Żđ˜„ đ˜©đ˜Š đ˜„đ˜Șđ˜„đ˜Ż’đ˜” đ˜„đ˜łđ˜Šđ˜Žđ˜Ž 𝘱𝘯đ˜șđ˜”đ˜©đ˜Ș𝘯𝘹 𝘭đ˜Ș𝘬𝘩 𝘐’đ˜„ đ˜Ș𝘼𝘱𝘹đ˜Șđ˜Żđ˜Šđ˜„ -- 𝘯𝘰 𝘹𝘭đ˜Șđ˜”đ˜”đ˜Šđ˜ł, 𝘯𝘰 𝘣𝘰𝘱𝘮, 𝘯𝘰 𝘭đ˜Șđ˜±đ˜Žđ˜”đ˜Șđ˜€đ˜Ź. đ˜ˆđ˜Żđ˜„ đ˜©đ˜Š 𝘾𝘱𝘮 𝘮𝘰 đ˜„đ˜ąđ˜źđ˜Żđ˜Šđ˜„ đ˜±đ˜°đ˜­đ˜Șđ˜”đ˜Š. 𝘞𝘩𝘭𝘭 𝘱𝘯đ˜ș𝘾𝘱đ˜ș -- đ˜©đ˜Šđ˜łđ˜Š ‘đ˜”đ˜Ș𝘮, 𝘮𝘱𝘯𝘮 𝘮𝘰𝘼𝘩 𝘰𝘧 đ˜”đ˜©đ˜Š đ˜¶đ˜źđ˜Ž đ˜ąđ˜Żđ˜„ 𝘾đ˜Șđ˜”đ˜© 𝘭𝘩𝘮𝘮 đ˜„đ˜Šđ˜”đ˜ąđ˜Ș𝘭 đ˜ąđ˜Łđ˜°đ˜¶đ˜” đ˜©đ˜°đ˜ž 𝘼𝘱𝘯đ˜ș đ˜„đ˜łđ˜Ș𝘯𝘬𝘮 𝘐 đ˜©đ˜ąđ˜„ đ˜„đ˜¶đ˜łđ˜Ș𝘯𝘹 đ˜”đ˜©đ˜Š 45 𝘼đ˜Șđ˜Żđ˜¶đ˜”đ˜Šđ˜Ž 𝘾𝘩 đ˜«đ˜ąđ˜Łđ˜Łđ˜Šđ˜łđ˜Šđ˜„.


 Photo credit: Kevin Westenberg

📍𝐒𝐹, đČ𝐹𝐼’đ«đž đźđ§đœđšđŠđŸđšđ«đ­đšđ›đ„đž 𝐰𝐱𝐭𝐡 đąđ§đ­đžđ«đŻđąđžđ°đŹ, 𝐞𝐡?

It’s not really a question of comfort it’s more a question of boredom. (𝑬𝒓𝒓𝒓𝒓.)


📍𝐘𝐹𝐼 𝐠𝐞𝐭 𝐭𝐡𝐞 𝐬𝐚𝐩𝐞 đȘ𝐼𝐞𝐬𝐭𝐱𝐹𝐧𝐬 đšđŻđžđ« 𝐚𝐧𝐝 đšđŻđžđ«?

Yeah, its just...it’s having to justify yourself to a total stranger..I’m not very comfortable with the idea that people have opinions about you without having met you. Most people have decided that you’re a total wanker or that, (𝒈𝒊𝒈𝒈𝒍𝒚) you are a god. And I, yeah I have a hard time coming to terms with the idea of having to justify yourself to a total stranger -- and a lot of it has to do with the British music press, they’re all a f*cking bunch of ... nasty sharks. They’re very, very sensationalist. Very jealous and very, very bitchy.


📍𝐘𝐹𝐼 𝐝𝐹𝐧’𝐭 𝐟𝐱𝐧𝐝 𝐭𝐡𝐚𝐭 𝐱𝐧 đ€đŠđžđ«đąđœđš, 𝐭𝐡𝐞 đŹđžđ§đŹđšđ­đąđšđ§đšđ„đąđŹđŠ?

I’d thought we invented it. Not so much in the music industry. It’s a particularly British disease. I find that musicians are treated with more respect in most countries outside of England. The UK is the only place where you find people who expect, well, people who think that they’re more intelligent than you, that they know better than you do.


📍𝐓𝐡𝐚𝐭’𝐬 𝐭𝐡𝐞 đŹđšđ«đ­ 𝐹𝐟 𝐭𝐡𝐱𝐧𝐠 𝐱𝐧 𝐬𝐹𝐩𝐞 𝐹𝐟 𝐭𝐡𝐞 đđ«đąđ­đąđŹđĄ đ«đžđŻđąđžđ°đŹ 𝐭𝐡𝐚𝐭 𝐈 đ«đžđšđ, 𝐈 𝐧𝐹𝐭𝐱𝐜𝐞𝐝 𝐡𝐹𝐰 𝐭𝐡𝐞 -- (đ‘©đ’“đ’Šđ’‚đ’ 𝒊𝒏𝒕𝒆𝒓𝒓𝒖𝒑𝒕𝒔 𝒎𝒆. 𝑰 𝒈𝒆𝒕 𝒖𝒔𝒆𝒅 𝒕𝒐 𝒊𝒕, 𝒓𝒆𝒂𝒍𝒊𝒛𝒊𝒏𝒈 𝒊𝒕 𝒉𝒂𝒑𝒑𝒆𝒏𝒔 𝒐𝒇𝒕𝒆𝒏, 𝒃𝒖𝒕 𝒘𝒓𝒊𝒕𝒆𝒓𝒔 𝒋𝒖𝒔𝒕 𝒆𝒅𝒊𝒕 𝒊𝒕 𝒐𝒖𝒕.)

Yeah, in England, in London they’re so incestuous, they’ve such a small scene that they, well--if the journalist’s girlfriend thinks you’re cute, then you’re f*cked. Or like, if you spill his drink once at a gig--you’re f*cked. It’s like that really.


📍𝐒𝐹, đČ𝐹𝐼 đŸđžđžđ„ 𝐭𝐡𝐞 đ©đ«đžđŹđŹ, 𝐭𝐡𝐞 𝐌𝐓𝐕 𝐭đČđ©đž đ©đ«đžđŹđŹ, 𝐰𝐱𝐭𝐡 𝐭𝐡𝐚𝐭 đ©đšđ©đŹđ­đšđ«, đžđ« -- đĄđźđ§đ đžđ«, 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞đČ’đ«đž đšđ„đ°đšđČ𝐬 𝐠𝐹𝐱𝐧𝐠 𝐭𝐹 đŠđšđ§đąđ©đźđ„đšđ­đž đČđšđźđ« đŸđźđ­đźđ«đž? (𝑯𝒆 𝒏𝒐𝒅𝒔 𝒉𝒊𝒔 𝒉𝒆𝒂𝒅 𝒂𝒏𝒅 𝒔𝒉𝒓𝒖𝒈𝒔 𝒂 𝒍𝒂𝒓𝒈𝒆, 𝒕𝒊𝒓𝒆𝒅 𝒔𝒊𝒈𝒉. 𝑮𝒆𝒂𝒏𝒘𝒉𝒊𝒍𝒆, 𝑰’𝒎 𝒕𝒉𝒊𝒏𝒌𝒊𝒏𝒈 -- 𝑰 𝒘𝒊𝒔𝒉 đ‘œđ’†đ’đ’đ’„đ’Šđ’•đ’š 𝒉𝒂𝒅 𝒑𝒐𝒘𝒆𝒓 𝒍𝒊𝒌𝒆 𝒕𝒉𝒂𝒕.) đ–đžđ„đ„ 𝐈 𝐡𝐚𝐯𝐞 đȘ𝐼𝐞𝐬𝐭𝐱𝐹𝐧𝐬 đŠđšđ«đž đšđ« đ„đžđŹđŹ đ«đžđ đšđ«đđąđ§đ  đ„đČđ«đąđœđšđ„ 𝐜𝐹𝐧𝐭𝐞𝐧𝐭 𝐚𝐧𝐝 --

Cool. (𝑯𝒆 𝒓𝒆𝒑𝒐𝒔𝒊𝒕𝒊𝒐𝒏𝒔 𝒕𝒉𝒆 𝒓𝒆𝒄𝒐𝒓𝒅𝒆𝒓, 𝒍𝒂𝒚𝒔 𝒊𝒕 𝒇𝒍𝒂𝒕, 𝒔𝒕𝒂𝒏𝒅𝒔 𝒊𝒕 𝒖𝒑𝒓𝒊𝒈𝒉𝒕.)


đŸ“đ–đąđœđ€đžđ. 𝐈𝐬 𝐭𝐡𝐚𝐭 đ›đžđ­đ­đžđ«? đ“đĄđžđ«đž 𝐰𝐞 𝐠𝐹, đČ𝐞𝐚𝐡. 𝐈𝐭’𝐬 đœđ«đšđœđ€đąđ§đ . (𝑰’𝒗𝒆 𝒏𝒐 𝒊𝒅𝒆𝒂 𝒘𝒉𝒚 𝑰 𝒔𝒂𝒊𝒅 𝒕𝒉𝒂𝒕 𝒃𝒖𝒕 𝑰’𝒎 𝒔𝒖𝒓𝒆 𝑰 𝒎𝒆𝒂𝒏𝒕 𝒕𝒐 𝒔𝒂𝒚 ‘𝒄𝒓𝒂𝒏𝒌𝒊𝒏𝒈’.) 𝐒𝐹 đ›đžđŸđšđ«đž 𝐈 đŹđ­đšđ«đ­ 𝐭𝐡𝐞𝐬𝐞 đȘ𝐼𝐞𝐬𝐭𝐱𝐹𝐧𝐬 -- 𝐚𝐧𝐝 𝐈 𝐝𝐹𝐧’𝐭 𝐰𝐚𝐧𝐭 𝐭𝐹 𝐬𝐹𝐼𝐧𝐝 đ„đąđ€đž 𝐬𝐹𝐩𝐞 đŹđšđ©đ©đČ đ›đ«đšđ°đ§ 𝐧𝐹𝐬𝐞, 𝐛𝐼𝐭 -- 𝐈’𝐩 đ­đžđ«đ«đąđ›đ„đČ 𝐟𝐹𝐧𝐝 𝐹𝐟 𝐖𝐱𝐭𝐡𝐹𝐼𝐭 𝐘𝐹𝐼 𝐈’𝐩 𝐍𝐹𝐭𝐡𝐱𝐧𝐠. 𝐈’đ„đ„ đ­đ«đČ 𝐛𝐞𝐱𝐧𝐠 𝐹𝐛𝐣𝐞𝐜𝐭𝐱𝐯𝐞 đĄđžđ«đž, đČ’đ€đ§đšđ° 𝐠𝐱𝐯𝐞 𝐭𝐡𝐞 đšđ„đž’ 𝐼𝐧𝐛𝐱𝐚𝐬𝐞𝐝 đąđ§đ­đžđ«đŻđąđžđ°, 𝐛𝐼𝐭 đ«đžđšđ„đ„đČ, đŸđšđ« 𝐭𝐡𝐞 đ©đšđŹđ­ đœđšđźđ©đ„đž 𝐩𝐹𝐧𝐭𝐡𝐬 𝐈’𝐯𝐞 𝐛𝐞𝐞𝐧 đ„đąđŹđ­đžđ§đąđ§đ  𝐭𝐹 𝐭𝐡𝐞 𝐂𝐃 𝐬𝐹 𝐟*đœđ€đąđ§đ  𝐹𝐟𝐭𝐞𝐧 -- 𝐱𝐧 𝐩đČ đœđšđ«, 𝐚𝐭 𝐡𝐹𝐩𝐞, 𝐚𝐧𝐝 đ°đžđ„đ„, 𝐈 đ€đ§đšđ° 𝐭𝐡𝐚𝐭 𝐈’𝐩 đđ«đšđ°đ§ 𝐭𝐹 𝐭𝐡𝐞 𝐂𝐃 𝐛𝐞𝐜𝐚𝐼𝐬𝐞 𝐱𝐭’𝐬 𝐬𝐹 đžđŠđšđ­đąđšđ§đšđ„đ„đČ đąđ§đ­đ«đąđ đźđąđ§đ . 𝐁𝐼𝐭 𝐭𝐡𝐞 đœđ«đžđšđ­đąđŻđž đœđšđ„đ„đšđ›đšđ«đšđ­đąđšđ§ 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐭𝐡𝐞 đ­đĄđ«đžđž 𝐹𝐟 đČ𝐹𝐼, đČđšđźđ« 𝐭𝐱𝐩𝐱𝐧𝐠 đŠđźđŹđąđœđšđ„đ„đČ -- 𝐱𝐭’𝐬 đ©đ«đšđœđžđŹđŹ, 𝐈 𝐱𝐩𝐚𝐠𝐱𝐧𝐞 đČ𝐹𝐼’𝐝 𝐛𝐞 đŹđšđ«đ­ 𝐹𝐟 -- 𝐚𝐬 đŹđąđ„đ„đČ 𝐚𝐬 𝐭𝐡𝐱𝐬 𝐬𝐹𝐼𝐧𝐝𝐬, 𝐛𝐼𝐭 -- đ„đąđ§đ€đžđ, 𝐈 𝐩𝐞𝐚𝐧, đČ’đ€đ§đšđ°, đ©đžđ«đĄđšđ©đŹ đźđ§đœđšđ§đŹđœđąđšđźđŹđ„đČ 𝐬𝐹𝐩𝐞𝐡𝐹𝐰. (đ‘«đ’–đ’Žđ’ƒ.)

It does feel that way sometimes, like there’s a magic that occurs with the three of us, a synchronicity when we’re together. The band was brought together by a series of really strange coincidences and happy accidents.


đŸ“đ–đžđ„đ„, 𝐈’𝐩 đŸđšđŠđąđ„đąđšđ« 𝐰𝐱𝐭𝐡 𝐡𝐹𝐰 đœđžđ«đ­đšđąđ§ 𝐜𝐹𝐱𝐧𝐜𝐱𝐝𝐞𝐧𝐜𝐞, 𝐡𝐹𝐰 𝐭𝐡𝐞 𝐬đČđ§đœđĄđ«đšđ§đąđœđąđ­đČ 𝐜𝐚𝐧 đąđ§đŸđ„đźđžđ§đœđž 𝐩đČđŹđžđ„đŸ đšđ«đ­đąđŹđ­đąđœđšđ„đ„đČ, đšđ„đ­đĄđšđźđ đĄ, 𝐹𝐟 đœđšđźđ«đŹđž, 𝐈’𝐩 𝐧𝐹𝐭 𝐚 𝐩𝐼𝐬𝐱𝐜𝐱𝐚𝐧 --

Oh yeah, there’s an unspoken, sort of organic connection in the group which enables us, our songwriting process to be incredibly fluid and it’s very natural, things come together incredibly quickly.

Photo credit: Kevin Westenberg

📍𝐓𝐡𝐚𝐭’𝐬 𝐰𝐡𝐚𝐭 𝐈 𝐟𝐱𝐧𝐝 đœđźđ«đąđšđźđŹ, 𝐛𝐞𝐱𝐧𝐠 𝐈’𝐩 𝐧𝐹𝐭 𝐚 𝐩𝐼𝐬𝐱𝐜𝐱𝐚𝐧, 𝐈’đ„đ„ đ°đšđ§đđžđ« -- đœđšđźđ„đ 𝐭𝐡𝐚𝐭 𝐛𝐞 đĄđšđ©đ©đžđ§đŹđ­đšđ§đœđž, 𝐡𝐹𝐰 𝐝𝐹 𝐭𝐡𝐞đČ đœđ«đžđšđ­đž 𝐬𝐹 đ­đąđ đĄđ­đ„đČ? 𝐈 𝐜𝐚𝐧’𝐭 𝐬𝐞𝐞 𝐡𝐹𝐰 𝐱𝐟 𝐭𝐡𝐞 𝐩𝐼𝐬𝐱𝐜, 𝐚𝐧𝐝 𝐭𝐡𝐱𝐬 đ«đžđ„đžđšđŹđž đœđžđ«đ­đšđąđ§đ„đČ 𝐱𝐬 -- đŹđžđšđŠđ„đžđŹđŹđ„đČ 𝐭𝐱𝐩𝐞𝐝, 𝐛𝐼𝐭 𝐡𝐹𝐰 đœđšđźđ„đ 𝐭𝐡𝐚𝐭 𝐜𝐹𝐩𝐞 đŸđ«đšđŠ 𝐩𝐼𝐬𝐱𝐜𝐱𝐚𝐧𝐬 𝐰𝐡𝐹 đšđ«đžđ§’𝐭 đ„đąđ§đ€đžđ 𝐭𝐡𝐚𝐭 𝐰𝐚đČ? 𝐈 đ°đšđźđ„đ đ­đĄđąđ§đ€ 𝐱𝐭 𝐡𝐚𝐬 𝐠𝐹𝐭 𝐭𝐹 𝐛𝐞 𝐬𝐹𝐩𝐞𝐭𝐡𝐱𝐧𝐠 ... đŹđ­đ«đšđ§đ đžđ„đČ 𝐱𝐧𝐭𝐱𝐩𝐚𝐭𝐞.

It’s very intimate with us, and our personal lives -- we share all of our secrets with each other, we’ve nothing to hide, we spend so much time together, just the three of us, and we have to be each other’s confidantes.


📍𝐘𝐹𝐼 𝐰𝐚𝐧𝐭 𝐚 đŻđšđđ€đš & đœđ«đšđ§đ›đžđ«đ«đČ?

Yeah -- vodka. It’s a bit early, but what the hell. You drinking vodka & cranberry?


📍(đŹđąđ©đ©đąđ§đ ) 𝐡𝐡𝐩 𝐡𝐩𝐩 𝐈𝐭’𝐬 𝐚 đ đ«đžđšđ­ đđ«đąđ§đ€. 𝐈’𝐯𝐞 𝐛𝐞𝐞𝐧 đ­đ«đČ𝐱𝐧𝐠 𝐭𝐹 𝐠𝐞𝐭 𝐭𝐡𝐞 𝐝𝐚𝐩𝐧𝐞𝐝 đ›đšđ«đ­đžđ§đđžđ« đšđŻđžđ« đĄđžđ«đž 𝐬𝐱𝐧𝐜𝐞 đČ𝐹𝐼 𝐬𝐚𝐭 𝐝𝐹𝐰𝐧. 𝐈 𝐰𝐚𝐬 đ­đ«đČ𝐱𝐧𝐠 𝐧𝐹𝐭 𝐭𝐹, 𝐛𝐼𝐭 --

it’s okay really.


đŸ“đ–đžđ„đ„ 𝐭𝐡𝐞 𝐩𝐼𝐬𝐱𝐜, 𝐚𝐬 𝐈 𝐬𝐚𝐱𝐝, 𝐱𝐬 đŻđžđ«đČ -- đžđŠđšđ­đąđšđ§đšđ„đ„đČ đ©đ«đšđŻđšđœđšđ­đąđŻđž. đ˜đšđźđ« đ„đČđ«đąđœđŹ.

There’s always been a confessional quality to what we’ve done but it’s really, really increased on the last album. And it gets like, like I start feeling sort of pathologically compelled to air my dirty laundry in public.


📍𝐒𝐹𝐩𝐞 𝐹𝐟 đČđšđźđ« đ„đČđ«đąđœđŹ đšđ«đž, 𝐚𝐬 𝐈’𝐯𝐞 đ«đžđšđ 𝐱𝐧 đČđšđźđ« đ©đ«đžđŹđŹ đ«đžđ„đžđšđŹđž, đšđźđ­đšđ›đąđšđ đ«đšđ©đĄđąđœđšđ„ đ«đžđšđœđ­đąđšđ§đŹ 𝐭𝐹 đČđšđźđ« đ©đžđ«đŹđšđ§đšđ„ đŹđ­đ«đźđ đ đ„đžđŹ, đČđšđźđ«đŹ đŹđ©đžđœđąđŸđąđœđšđ„đ„đČ, 𝐚𝐧𝐝 đ°đžđ„đ„, 𝐈’𝐯𝐞 𝐚 đȘ𝐼𝐞𝐬𝐭𝐱𝐹𝐧 đŸđšđ«, đ°đžđ„đ„, đŸđšđ« 𝐚𝐧 đšđ§đŹđ°đžđ« 𝐈 𝐧𝐞𝐞𝐝 đŸđšđ« 𝐩đČđŹđžđ„đŸ đ«đžđšđ„đ„đČ. 𝐈𝐟 đČ𝐹𝐼’đ«đž đźđ§đœđšđŠđŸđšđ«đ­đšđ›đ„đž 𝐰𝐱𝐭𝐡 𝐭𝐡𝐞 đȘ𝐼𝐞𝐬𝐭𝐱𝐹𝐧, 𝐈 đ°đšđźđ„đđ§’𝐭 đ°đ«đąđ­đž 𝐚𝐧đČ𝐭𝐡𝐱𝐧𝐠 đČ𝐹𝐼 đšđŹđ€đžđ 𝐩𝐞 𝐧𝐹𝐭 𝐭𝐹, 𝐛𝐼𝐭 -- 𝐈 đ°đšđźđ„đ đ„đąđ€đž đČ𝐹𝐼 𝐭𝐹 𝐚𝐭 đ„đžđšđŹđ­ đ­đžđ„đ„ 𝐩𝐞, 𝐹𝐟𝐟 𝐭𝐡𝐞 đ«đžđœđšđ«đ đŹđšđ«đ­ 𝐭𝐹 đŹđ©đžđšđ€, 𝐚𝐛𝐹𝐼𝐭 𝐒𝐰𝐞𝐞𝐭 đđ«đąđ§đœđž. (đ‘«đ’Šđ’… 𝑰 𝒋𝒖𝒔𝒕 𝒔𝒂𝒚 ‘𝒐𝒇𝒇 𝒕𝒉𝒆 𝒓𝒆𝒄𝒐𝒓𝒅’?)

Okay.


📍(đ‘»đ’‰đ’Šđ’” 𝒏𝒆𝒙𝒕 𝒑𝒂𝒓𝒕, 𝒘𝒉𝒆𝒏 𝑰 𝒉𝒆𝒂𝒓𝒅 𝒊𝒕 𝒐𝒏 𝒕𝒉𝒆 𝒕𝒂𝒑𝒆, 𝑰 𝒕𝒉𝒐𝒖𝒈𝒉𝒕, 𝒎𝒚 𝒈𝒐𝒅, 𝑰 𝒎𝒖𝒔𝒕 𝒔𝒆𝒆𝒎 𝒔𝒐 𝒘𝒆𝒊𝒓𝒅. đ‘©đ’†đ’„đ’‚đ’–đ’”đ’† 𝒇𝒐𝒓 𝒂 𝒔𝒆𝒄𝒐𝒏𝒅 𝑰 𝒋𝒖𝒔𝒕 𝒔𝒊𝒕 𝒕𝒉𝒆𝒓𝒆. 𝑹𝒏𝒅 𝒕𝒉𝒆𝒏, 𝑰 𝒔𝒂𝒊𝒅 𝒊𝒕.) đ–đžđ„đ„ 𝐬𝐞𝐞, 𝐼𝐡, 𝐈’𝐩 𝐚 đ«đžđœđšđŻđžđ«đąđ§đ  𝐚𝐝𝐝𝐱𝐜𝐭 𝐚𝐧𝐝 --

Are you really? (đ‘”đ’đ’• 𝒔𝒂𝒓𝒄𝒂𝒔𝒕𝒊𝒄.)


đŸ“đ”đ§đŸđšđ«đ­đźđ§đšđ­đžđ„đČ. 𝐘𝐞𝐚𝐡, 𝐚𝐧𝐝 đœđšđ§đŹđąđđžđ«đąđ§đ  𝐭𝐡𝐚𝐭, 𝐈’𝐯𝐞 -- đžđ±đ©đžđ«đąđžđ§đœđžđ đœđžđ«đ­đšđąđ§, đČ𝐹𝐼 đ€đ§đšđ°. 𝐀𝐧đČ𝐰𝐚đČ, 𝐈 đ«đžđŹđžđšđ«đœđĄđžđ 𝐭𝐡𝐞 𝐰𝐞𝐛 đ­đ«đČ𝐱𝐧𝐠 𝐭𝐹 𝐟𝐱𝐧𝐝 𝐬𝐹𝐩𝐞𝐭𝐡𝐱𝐧𝐠 𝐭𝐹 đœđšđ§đŸđąđ«đŠ đ°đĄđžđ­đĄđžđ« 𝐱𝐧 𝐭𝐡𝐚𝐭 𝐬𝐹𝐧𝐠 đČ𝐹𝐼 đšđ«đž đ„đąđ­đžđ«đšđ„đ„đČ đ«đžđŸđžđ«đ«đąđ§đ  𝐭𝐹 đĄđžđ«đšđąđ§ 𝐚𝐝𝐝𝐱𝐜𝐭𝐱𝐹𝐧. 𝐁𝐼𝐭 𝐈 đœđšđźđ„đđ§’𝐭 𝐟𝐱𝐧𝐝 𝐚𝐧đČ𝐭𝐡𝐱𝐧𝐠 𝐚𝐛𝐹𝐼𝐭 𝐱𝐭. 𝐒𝐹, 𝐱𝐬 𝐱𝐭 -- đŠđžđ­đšđ©đĄđšđ«đąđœđšđ„?

Not at all, it’s very literal. It was a very dark period of my life. I mean, and yeah, the song is essentially about a choice, about a breakdown between two romances. One with a person, and one with the ... with a substance.


đŸ“đ–đžđ„đ„ 𝐭𝐹 𝐬𝐹𝐩𝐞 𝐭𝐡𝐚𝐭 đ„đČđ«đąđœđšđ„ đžđ±đ©đ«đžđŹđŹđąđšđ§ 𝐱𝐬 𝐹𝐛𝐯𝐱𝐹𝐼𝐬, 𝐛𝐼𝐭 𝐝𝐹 đČ𝐹𝐼 đœđšđ«đž 𝐭𝐡𝐹𝐼𝐠𝐡, 𝐱𝐟 đšđ­đĄđžđ«’𝐬 𝐜𝐚𝐧 𝐠𝐞𝐭 𝐱𝐭? đŽđ« 𝐱𝐬 𝐱𝐭 𝐣𝐼𝐬𝐭 đŸđšđ« đČđšđźđ« đžđ±đ©đ«đžđŹđŹđąđšđ§, đČđšđźđ« đœđšđ­đĄđšđ«đŹđąđŹ? đ„đŹđ©đžđœđąđšđ„đ„đČ 𝐭𝐡𝐚𝐭 𝐬𝐹𝐧𝐠. 𝐀𝐧𝐝, 𝐼𝐡 --

Well its being comprehensive, artistically, that is very very important to me. But that song, well both romances, were tragedies for me, and both well, almost led to death really.


đŸ“đ–đžđ„đ„ 𝐱𝐧 𝐭𝐡𝐚𝐭 𝐬𝐱𝐭𝐼𝐚𝐭𝐱𝐹𝐧, đČ𝐹𝐼 𝐣𝐼𝐬𝐭 𝐜𝐚𝐧’𝐭 𝐡𝐚𝐯𝐞 𝐛𝐹𝐭𝐡.

Personally I’ve -- yeah, they both spur on the other and each person just keeps feeding it, and you don’t want the other person to stop really. And you can’t --


📍đČ𝐹𝐼 𝐜𝐚𝐧’𝐭 𝐡𝐚𝐯𝐞 𝐚 đ«đžđ„đšđ­đąđšđ§đŹđĄđąđ© 𝐰𝐱𝐭𝐡 𝐭𝐡𝐚𝐭 đ©đžđ«đŹđšđ§ đ°đĄđąđ„đž đČ𝐹𝐼’đ«đž 𝐝𝐹𝐱𝐧𝐠 𝐟*đœđ€đąđ§đ  đđšđ©đž. (𝐈𝐭 đšđœđœđźđ«đŹ 𝐭𝐹 𝐩𝐞...) 𝐖𝐹𝐰, đČ𝐹𝐼 đąđ§đ­đžđ«đŻđąđžđ°đąđ§đ  𝐩𝐞? (𝒔𝒎𝒊𝒍𝒊𝒏𝒈)

It’s alright, really. But yeah, the only way to really get out of the substance abuse, if you want to at that time -- is to break the relationship --- and it is, it was, a very painful experience. You know, that song is the, well, the one that is kind of closest to the bone, and I’ve never really been that naked before, lyrically. It’s very difficult to talk about. And, I always have to watch what I say. That’s why I asked if I could write--- Oh yes, well everything I’ve said so far is okay. Good. Well, thankfully I did, uh, for my own protection I knew that I had to get out before it became a problem. I’ve a great deal of responsibility first and foremost to Steve and Stephan. And well, Steve has a daughter and these things, as we spoke about, these things have a domino effect with the three of us, y’know, it goes a long way, the synchronicity. I had to stop for me...too, and to protect the band. It’s very important for me not to f*ck up. I’ve always been, see, in a way, a lot of my life has been about things like that, like breaking down taboos for myself. And uh, a lot of my experience growing up has been based on doing -- on transgression and doing what is forbidden, and that is, y’know, it’s almost like the last taboo.


📍𝐓𝐡𝐚𝐭’𝐬 𝐚 𝐛𝐱𝐠 𝐹𝐧𝐞. đ„đŹđ©đžđœđąđšđ„đ„đČ đŸđšđ« đ©đžđšđ©đ„đž 𝐰𝐱𝐭𝐡 𝐭𝐡𝐚𝐭 đ©đŹđČ𝐜𝐡𝐹, đœđ«đžđžđ©đČ𝐝𝐼𝐩𝐛𝐭đČđ©đž 𝐹𝐟 𝐭𝐞𝐧𝐝𝐞𝐧𝐜đČ đ­đšđ°đšđ«đ đŹđžđ„đŸ đđžđŹđ­đ«đźđœđ­đąđšđ§ 𝐱𝐭’𝐬 đźđŹđźđšđ„đ„đČ 𝐭𝐡𝐞 đŠđšđ­đĄđžđ« đ„đšđšđ.

Yes, and I’ve had problems, hang ups with depression, a lot of emotional problems in the past and it’s taken me a long time to get to that point where I don’t need a crutch.


📍𝐀𝐧𝐝 đđ„đšđœđžđ›đš?

It’s my life now. The band is too precious to f*ck up. And I’d never been responsible before for anyone’s attempted suicide and well, that was very difficult for me to deal with. That song, I just, well it sort of vomited itself forward, it had to be written. It happened while we were demo-ing the second album and that song wrote itself about a week after the fact. Basically it really really affected us in a very big way, all of us. (đ‘”đ’đ’˜ 𝒉𝒆 𝒔𝒆𝒆𝒎𝒔 𝒆𝒙𝒕𝒓𝒆𝒎𝒆𝒍𝒚 𝒏𝒆𝒓𝒗𝒐𝒖𝒔 𝒂𝒏𝒅 𝒘𝒐𝒓𝒓𝒊𝒆𝒅.) Uhh -- can we move on?


📍𝐘𝐞𝐬, 𝐼𝐡𝐩, 𝐈’𝐩 đŹđšđ«đ«đČ, đŹđźđ«đž.

It’s okay.

Photo credit: Kevin Westenberg

đŸ“đ€đ„đ«đąđ đĄđ­đžđž. 𝐒𝐹, 𝐈 đĄđžđšđ«đ 𝐭𝐡𝐚𝐭 𝐃𝐚𝐯𝐱𝐝 𝐁𝐹𝐰𝐱𝐞 đšđœđ­đźđšđ„đ„đČ 𝐬𝐹𝐼𝐠𝐡𝐭 đČ𝐹𝐼 𝐹𝐼𝐭, 𝐬𝐹𝐼𝐠𝐡𝐭 𝐹𝐼𝐭 𝐭𝐡𝐞 𝐛𝐚𝐧𝐝 đšđœđ­đźđšđ„đ„đČ. đ“đ«đźđž đ«đąđ đĄđ­?

Yeah. He heard our demo, and well -- we’ve performed live with him at the British music awards and we played at his 50th birthday party.


📍𝐌𝐚𝐧, 𝐡𝐞’𝐬 𝐹𝐧𝐞 𝐹𝐟 𝐭𝐡𝐞 𝐛𝐱𝐠 𝐝𝐚𝐝𝐝𝐱𝐞𝐬. 𝐈𝐭 𝐩𝐼𝐬𝐭’𝐯𝐞 đŸđžđ„đ­ 𝐬𝐹 đąđ§đœđ«đžđđąđ›đ„đČ đœđšđšđ„ đŸđšđ« đČ𝐹𝐼. 𝐀𝐧𝐝 đœđšđ§đŹđąđđžđ«đąđ§đ  đČđšđźđ« 𝐬𝐰𝐚đČ đ­đšđ°đšđ«đđŹ, 𝐼𝐡, đ°đžđ„đ„, đšđ§đđ«đšđ đČ𝐧đČ -- 𝐁𝐹𝐰𝐱𝐞 𝐰𝐚𝐬 𝐚𝐧 đąđ§đŸđ„đźđžđ§đœđž, 𝐈’𝐩 đŹđźđ«đž.

My god yes, that has been the highlight of my career so far. What was he like to work with? Singing with him was absolutely incredible and he’s always been very natural with me. A friend really. So after those experiences with him, you two still communicate? He’s like a mentor. I can call him and talk -- and he’ll talk with me about anything actually.


📍𝐃𝐚𝐩𝐧 𝐒𝐚𝐩, 𝐭𝐡𝐚𝐭’𝐬 đœđšđšđ„. 𝐀𝐧𝐝 𝐱𝐧 đ«đžđ đšđ«đ 𝐭𝐹 𝐭𝐡𝐚𝐭 đ đžđ§đ«đž, đČ’đ€đ§đšđ° 𝐁𝐹𝐰𝐱𝐞, đ đ„đšđŠ đ«đšđœđ€, 𝐞𝐭𝐜., đČ𝐹𝐼 𝐠𝐼đČ𝐬 đ°đžđ«đž 𝐱𝐧 đ•đžđ„đŻđžđ­ đ†đšđ„đđŠđąđ§đž. 𝐃𝐱𝐝 đČ𝐹𝐼 đ„đąđ€đž 𝐚𝐜𝐭𝐱𝐧𝐠?

Acting was my first ambition really. I’d gotten three degrees and I miss it. Doing that film was fantastic.


📍𝐓𝐡𝐞 đžđ§đ­đąđ«đž 𝐛𝐚𝐧𝐝 𝐝𝐹𝐞𝐬 𝐚 𝐜𝐚𝐩𝐞𝐹 đ«đąđ đĄđ­?

Yeah.


📍𝐃𝐹 đČ𝐹𝐼 đ©đ„đšđ§ 𝐹𝐧 𝐜𝐹𝐧𝐭𝐱𝐧𝐼𝐱𝐧𝐠 đČđšđźđ« 𝐚𝐜𝐭𝐱𝐧𝐠?

Any chance I can get to act, of course if it’s something that I’m really interested in , I’m going to do it. I love film, really, I always have. But Placebo will always be first and foremost. Always.


📍𝐃𝐹 𝐒𝐭𝐞𝐯𝐞 𝐚𝐧𝐝 đ’đ­đžđ©đĄđšđ§ 𝐡𝐚𝐯𝐞 đšđ­đĄđžđ« 𝐚𝐩𝐛𝐱𝐭𝐱𝐹𝐧𝐬 đšđ«đ­đąđŹđ­đąđœđšđ„đ„đČ, 𝐹𝐼𝐭𝐬𝐱𝐝𝐞 𝐹𝐟 đđ„đšđœđžđ›đš?

They’re really more focused towards music artistically. (𝑮𝒂𝒓𝒌 𝒂𝒏𝒅 𝒉𝒊𝒔 𝒕𝒐𝒖𝒓 𝒎𝒂𝒏𝒂𝒈𝒆𝒓 𝒉𝒂𝒅 𝒓𝒆𝒕𝒖𝒓𝒏𝒆𝒅 𝒂𝒏𝒅 𝒘𝒆𝒓𝒆 𝒔𝒕𝒂𝒏𝒅𝒊𝒏𝒈 𝒂 𝒔𝒎𝒂𝒍𝒍 𝒅𝒊𝒔𝒕𝒂𝒏𝒄𝒆 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒃𝒂𝒓, 𝒑𝒐𝒍𝒊𝒕𝒆𝒍𝒚 𝒎𝒂𝒌𝒊𝒏𝒈 𝒊𝒕 𝒄𝒍𝒆𝒂𝒓 𝒕𝒉𝒂𝒕 𝒕𝒉𝒆 𝒕𝒊𝒎𝒆 𝒘𝒂𝒔 𝒖𝒑.)


đŸ“đ–đžđ„đ„ đȘđźđąđœđ€đ„đČ, 𝐈’𝐩 đœđźđ«đąđšđźđŹ 𝐚𝐛𝐹𝐼𝐭 𝐭𝐡𝐞 đ„đąđ§đž ‘đ›đšđ±đąđ§đ  đœđ„đžđŻđžđ«’ 𝐱𝐧 đđźđ«đž đŒđšđ«đ§đąđ§đ .

In England there is an old saying, if you’re prepared for something, that you, well, you will be boxing clever with the devil.


đŸ“đ€đ„đŹđš -- đ«đžđšđ„đ„đČ, đČ𝐹𝐼’đ«đž 𝐬𝐱𝐧𝐠𝐱𝐧𝐠 𝐱𝐬 𝐬𝐹 𝐜𝐹𝐧𝐭𝐚𝐠𝐱𝐹𝐼𝐬. 𝐈𝐧 đ€đŹđ€ đ…đšđ« đ€đ§đŹđ°đžđ«đŹ, ‘𝐭𝐡𝐞𝐬𝐞 𝐛𝐹𝐧𝐝𝐬 đšđ«đž đŹđĄđšđœđ€đ„đž đŸđ«đžđž’ (𝑰 𝒔𝒂𝒏𝒈 𝒕𝒉𝒆 𝒍𝒚𝒓𝒊𝒄𝒔, 𝒏𝒐--𝒓𝒆𝒂𝒍𝒍𝒚. 𝑹𝒏𝒅 𝑰 𝒅𝒊𝒅 𝒎𝒚 𝒅𝒂𝒎𝒏𝒆𝒅𝒆𝒔𝒕 𝒕𝒐 𝒔𝒐𝒖𝒏𝒅 𝒋𝒖𝒔𝒕 𝒍𝒊𝒌𝒆 𝒉𝒊𝒎. 𝑰’𝒅 𝒉𝒂𝒅 𝒂 𝒃𝒊𝒕 𝒎𝒐𝒓𝒆 𝒗𝒐𝒅𝒌𝒂 𝒕𝒉𝒂𝒏 𝑰 𝒑𝒓𝒐𝒃𝒂𝒃𝒍𝒚 𝒔𝒉𝒐𝒖𝒍𝒅 𝒉𝒂𝒗𝒆 𝒉𝒂𝒅.) 𝐇𝐹𝐰’𝐬 𝐩đČ đđ«đąđšđ§ đŒđšđ„đ€đš đąđŠđ©đ«đžđŹđŹđąđšđ§, 𝐠𝐹𝐹𝐝?

No. (𝒀𝒆𝒂𝒉 𝒇𝒖𝒏𝒏𝒚. đ‘Ÿđ’† 𝒈𝒆𝒕 𝒖𝒑 𝒇𝒓𝒐𝒎 𝒐𝒖𝒓 𝒔𝒕𝒐𝒐𝒍𝒔.)


📍𝐎𝐡 đČ𝐞𝐚𝐡, đ›đžđŸđšđ«đž đČ𝐹𝐼 𝐠𝐹, 𝐱𝐬 𝐱𝐭 đšđ€đšđČ 𝐱𝐟 𝐰𝐞 𝐠𝐞𝐭 𝐚 đ©đąđœđ­đźđ«đž? đ•đžđ„đšđœđąđ­đČ 𝐡𝐚𝐬 𝐭𝐡𝐱𝐬 𝐒𝐞𝐞𝐧 𝐹𝐧 𝐭𝐡𝐞 𝐒𝐜𝐞𝐧𝐞 𝐬𝐞𝐜𝐭𝐱𝐹𝐧 𝐚𝐧𝐝 𝐱𝐭’𝐝 𝐛𝐞 đœđšđšđ„ 𝐚𝐬 đĄđžđ„đ„ 𝐭𝐹 𝐠𝐞𝐭 𝐚 𝐬𝐡𝐹𝐭 𝐱𝐧 𝐭𝐡𝐱𝐬 𝐬𝐧𝐚𝐳𝐳đČ đ›đšđ«, 𝐰𝐱𝐭𝐡 --

No, I uh, well, I’m not really dressed and I don’t even have my makeup on.


𝐈 𝐝𝐱𝐠 𝐭𝐡𝐚𝐭.✪


❤️ 𝑮𝒚 đ‘ș𝒘𝒆𝒆𝒕 đ‘·đ’“đ’Šđ’đ’„đ’† - đ‘·đ’đ’‚đ’„đ’†đ’ƒđ’ 𝑳𝒊𝒗𝒆 𝑹𝒕 đ‘ș𝒉𝒆𝒇𝒇𝒊𝒆𝒍𝒅 𝟏𝟗𝟗𝟖 đŸŽŒ 💕
https://bit.ly/3lp2B7z

Post by Rita

viernes, 15 de octubre de 2021

⭐𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘: 𝐏𝐎𝐒𝐈𝐓𝐈𝐎𝐍𝐒⭐

Today we celebrate the 𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘 of the Trash Palace album “𝐏𝐎𝐒𝐈𝐓𝐈𝐎𝐍𝐒” which contains two songs with Brian's on vocals, “The metric system” and “Je t'aime moi non plus”. The album was released 19 years ago on October 15th 2002.
Trash Palace was a project by French producer and DJ Dimitri Tikovoi who lives in London since many years and is well integrated in the British music scene. Early in his UK career Dimitri worked on some Placebo remixes and the band's cover version of Kate Bush's "Running up that hill", and then produced the band's fifth studio album “Meds”.

đ—§đ—„đ—”đ—Šđ—› 𝗣𝗔𝗟𝗔𝗖𝗘 – 𝗣𝗱𝗩𝗜𝗧𝗜𝗱𝗡𝗩 (𝗳𝘂đ—čđ—č 𝗼đ—č𝗯𝘂đ—ș)
đŸŽ” https://bit.ly/2KAtbYp đŸŽ” 


Photo credit: unknown, screenshot, cover of the album, Claudia Schmölders (live photo) /Edit by Silke

“The metric system” was first released on “Positions” but was also put out as a single four months later, on February 24th 2003. There's also a Remix edition of “Positions” which includes two new interpretations of the song. ”The metric system” tells the story of a guy who lives in Los Angeles and sells his sperm to celebrity lesbians, so they can have children.
Brian really enjoyed working on the song. In an interview with French magazine “Les Inrockuptibles” he said that it was big fun for him. "Dimitri is my buddy. We have the same sense of humour, porn makes us laugh. What is strange is that people, the media, everybody took us very seriously," he added.

đŸ“č 𝗧𝗛𝗘 đ— đ—˜đ—§đ—„đ—œđ—– 𝗩𝗬𝗩𝗧𝗘𝗠 – 𝗱𝗙𝗙𝗜𝗖𝗜𝗔𝗟 đ—©đ—œđ——đ—˜đ—ą
đŸŽ” https://bit.ly/3ECUFaw đŸŽ” 

 Brian and Dimitri Tikovoi, London, June 2008. Photo credit unknown

“Je t'aime ma non plus” is a duet originally sung by Serge Gainsbourg and Jane Birkin. It was put out as a single in 1969 and reached no. one in the UK, but it was banned in several other countries due to its overtly sexual content. The lyrics are written as an imaginary dialogue between two lovers during a sexual encounter, delivered in a breathy, suggestive style. Gainsbourg wrote “Je t'aime moi non plus” for the famous actress and sex symbol Brigitte Bardot with whom he had a short love affair with in late 1967.
Brian recorded the cover version together with Italian actress and singer Asia Agento. In their version the male and female roles are inverted, which gives a different interpretation to the song.

 đŸ’ż 𝗝𝗘 𝗧'𝗔𝗜𝗠𝗘 𝗠𝗔 𝗡𝗱𝗡 𝗣𝗟𝗹𝗩 (đ—źđ˜‚đ—±đ—¶đ—Œ)
đŸŽ” https://bit.ly/3aoVq6B đŸŽ” 

Photo credit: Claudia Schmölders

📍 đ——đ—œđ— đ—œđ—§đ—„đ—œ đ—§đ—œđ—žđ—ąđ—©đ—ąđ—œ 𝗱𝗡 đ—Șđ—ąđ—„đ—žđ—œđ—Ąđ—š đ—Ș𝗜𝗧𝗛 đ—•đ—„đ—œđ—”đ—Ą 📍 
📱 "When I worked with Placebo, I had Brian Molko listen to a song, asking him if he would work on it with me. He found the project very interesting. He said "Great! It's about sex! I want to do something like that too" and we did the song “The metric system."
(POPnews, November 2002)

📍 đ—•đ—„𝗜𝗔𝗡 𝗱𝗡 đ—Șđ—ąđ—„đ—žđ—œđ—Ąđ—š đ—Ș𝗜𝗧𝗛 đ——đ—œđ— đ—œđ—§đ—„đ—œ đ—§đ—œđ—žđ—ąđ—©đ—ąđ—œ 📍 
📱 ”The artist in question is a French named Dimitri, whose nickname is the vibrator. He made an electronic record in French about pornography on wich I figure as well as John Cale, Jean-Louis-Murat. We wrote texts for Dimitri. I wrote one a la William Burrough. But it was very interesting to work on this record because it's a kind of music that is very different from what we do usually, and I love this kind of music”.
(M6 music, 2001)

đŸ“č 𝗧𝗛𝗘 đ— đ—˜đ—§đ—„đ—œđ—– 𝗩𝗬𝗩𝗧𝗘𝗠 (đ—čđ—¶đ˜ƒđ—Č)
đŸŽ” https://bit.ly/3EyNP5R đŸŽ” 

Photo credit unknown

📍 đ——đ—œđ— đ—œđ—§đ—„𝗜 đ—§đ—œđ—žđ—ąđ—©đ—ąđ—œ 𝗱𝗡 “𝗣𝗱𝗩𝗜𝗧𝗜𝗱𝗡𝗩“ 📍 
📱 “I just wanted to push myself, my own knowledge of computer-based music so there was a lot of experimentation and trying to do things a bit differently. But I also had a theme which was sex, because firstly, everyone uses sex to sell things but they exploit it in a way that’s not very sensual or erotic. I thought that if I could combine some kind of eroticism into something that is as cold as electronic music, then it would be really interesting. Also I wanted things to be a bit deranged or slightly out of place…kind of the opposite of Britney Spears! Electronic music is so cold because it’s made with machines so if you try to put sensuality into it, it kind of gives it some soul.“
(Soundfreakcom, August 2006)

Post by Silke

⭐️đŸ’«đ‘šđ‘”đ‘”đ‘°đ‘œđ‘Źđ‘čđ‘ș𝑹đ‘č𝒀: 𝐁𝟑 đ„đđŸ’«⭐️

Nine years ago, on October 15th, 2012, Placebo’s 𝐁𝟑 𝐄𝐏 was released through the record label Vertigo. It reached no. 65 in the UK album charts.

⭐️𝐓𝐑𝐀𝐂𝐊𝐋𝐈𝐒𝐓⭐️
B3
I Know You Want To Stop (Minxus cover)
The Extra
I.K.W.Y.L.
Time Is Money

Photo credit: Brian Molko – Gwen; EP artwork / edit by Olga


đđ„đšđœđžđ›đš – 𝐁𝟑, đ…đźđ„đ„ 𝐄𝐏
➡️ https://bit.ly/2XBzPoL

đđ„đšđœđžđ›đš – 𝐁𝟑, đŽđŸđŸđąđœđąđšđ„ 𝐕𝐱𝐝𝐞𝐹
➡️ https://bit.ly/3hzeyFu

In an 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 with đ‘©đ’Šđ’đ’đ’ƒđ’đ’‚đ’“đ’… done in November 2011, Stefan talked about Placebo’s plans of recording some new music in 2012.

📱"That was one of the longest tours we ever did, supporting that album [Battle For the Sun]," Olsdal tells Billboard.com. "It lasted the better part of two years. We're still recovering from that, really." Nevertheless, Olsdal says he and singer-guitarist Brian Molko are "continually writing" and should be ready when the trio -- which also includes drummer Steve Forrest -- decides to hit the studio in 2012.

"I'm in touch with Brian," Olsdal says. "He'll bring in a track or parts of a track, or I do, or we just kind of jam something up in the studio. The shape and sound of the next album will be decided when we get back together. I suppose once we came off the road it was kind of hard to plug in a distorted guitar again, because we'd done that every night for the best part of two years. When we came back home it was nice to hear nice, clean, acoustic sounds, so maybe we'll still feel that way when we start to (record)."
(đ”đ‘–đ‘™đ‘™đ‘đ‘œđ‘Žđ‘Ÿđ‘‘, 𝑁𝑜𝑣𝑒𝑚𝑏𝑒𝑟 22𝑛𝑑, 2011)

Photo credit: Mercedes-Benz 'A ROCK' 

📍On November 23rd, 2011, the band announced via their Facebook page and official website that they would return to the studio in 2012 to record their seventh studio album. In August 2012, Brian Molko revealed on Italy's Rai Radio 2 that a new single entitled "B3" would be released in September.
Instead, a bit later, the band announced that they would release not only a single but a five-track EP titled B3 on October 12th. In fact, EP was released on October 15th, three days later than predicted.

đŸ“ąđđ«đąđšđ§: "We reconvened in the summer of 2012 ostensibly to record a new single as we had just signed a new record deal. That single morphed into the five-track B3 EP which we released in the autumn to placate the more militant factions of our fanbase."
(đ”đŸ 𝐮𝑠𝑖𝑎-𝑐𝑖𝑡𝑩, 2013)

📍Cover design and sleeve photography for the EP was done by 𝑯𝒆𝒍𝒆𝒏𝒂 đ‘©đ’†đ’“đ’ˆ, Brian's ex-girlfriend and mother of his son Cody. She actually used their son’s photos for the EP artwork.
Anthony Crook was also responsible on the sleeve design. Fiona Brice did string arrangements on The extra. Besides Placebo members, David Bottrill and Adam Noble worked on production; mixing was done by Alan Moulder and Neil Comber, mastering by Tim Young.
📍The songs of the EP were recorded at both RAK Studios in London and Metalworks Studios in Toronto, Canada (while Placebo have been working on their previous album Battle for the sun).

📍For the đ‘đžđœđšđ«đ đ’đ­đšđ«đž 𝐃𝐚đČ 𝟐𝟎𝟏𝟑, which was on April 20th, Placebo prepared a limited edition of 3000 copies of B3 𝒕𝒓𝒂𝒏𝒔𝒍𝒖𝒄𝒆𝒏𝒕 𝒗𝒊𝒏𝒚𝒍 to be released throughout Europe.
Brian beautifully talked about this exclusive item in his interview on XFM radio.

đđ«đąđšđ§ đŒđšđ„đ€đš đˆđ§đ­đžđ«đŻđąđžđ°, 𝐗𝐅𝐌, 𝟏𝟗.𝟎𝟒.𝟏𝟑, đ‘đžđœđšđ«đ đ’đ­đšđ«đž 𝐃𝐚đČ
➡️ https://bit.ly/3k99vNM

Photo credit: Kevin Westenberg

Everyone who ordered a translucent vinyl received a printed 𝒎𝒆𝒔𝒔𝒂𝒈𝒆:
▪️ ▪️ ▪️
20th April 2013
Dear PLACEBO fan,
Firstly, thank you for purchasing B310INCHEP clear vinyl, specially created to celebrate Record Store Day 2013.
This is one of only a strictly limited edition which will never be remanufactured.
Vinyl has always played an important part of the way we, as individuals and as a band, listen to and engage with music.
As keen vinyl collectors we wanted this release to highlight Record Store Day and what it has achieved over the short time the idea was conceived in 2007.
This is the one day that all the independently owned record stores come together with artists to celebrate the art of music.
Thank you for being a part of it and supporting your local record store.
For more information visit RecordStoreDay.com.
Peace and love
PLACEBO
x
▪️ ▪️ ▪️

⭐️To make the anniversary celebration complete, I’d like to share a great live performance of the EP’s lead track. Let’s watch 𝐁𝟑 played for the first time in Poland – as Brian presented the song - at Coke Live Music Festival in Krakow on August 12th, 2012.

đđ„đšđœđžđ›đš - 𝐁𝟑, đ‚đšđ€đž 𝐋𝐱𝐯𝐞 𝐌𝐼𝐬𝐱𝐜 đ…đžđŹđ­đąđŻđšđ„ 𝟐𝟎𝟏𝟐
➡️ https://bit.ly/3ApPyYs

Post by Olga

jueves, 14 de octubre de 2021

⭐️💓𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝐂𝐇𝐀𝐑𝐈𝐓𝐘 𝐀𝐅𝐓𝐄𝐑𝐏𝐀𝐑𝐓𝐘 đŸđšđ« 𝐂𝐀𝐋𝐌: 𝐋𝐄𝐄𝐃𝐒 𝟐𝟎𝟏𝟓💓⭐️


Today, we’re going to be talking about another beautiful Placebo’s initiative: a fundraising event for 𝐂𝐀𝐋𝐌, đ‘Ș𝒂𝒎𝒑𝒂𝒊𝒈𝒏 𝑹𝒈𝒂𝒊𝒏𝒔𝒕 𝑳𝒊𝒗𝒊𝒏𝒈 𝑮𝒊𝒔𝒆𝒓𝒂𝒃𝒍𝒚, an organisation that provides help with mental health problems in an effort to prevent suicide🙏

Photo credit: Stuart Semple (print), Joe Kenway / edit by Olga

✨On March 9th, 2015, Placebo hosted an 𝒆𝒙𝒄𝒍𝒖𝒔𝒊𝒗𝒆 𝒔𝒆𝒄𝒓𝒆𝒕 𝒂𝒇𝒕𝒆𝒓-𝒑𝒂𝒓𝒕𝒚 𝒄𝒍𝒖𝒃 𝒏𝒊𝒈𝒉𝒕 that took place right after the Leeds O2 Academy show from their UK leg of the Loud Like Love tour. Approaching 20-years anniversary celebration, Placebo were extremely keen to use their concert as an opportunity to help draw attention to the charity’s efforts in the UK.
✨The event featured exclusive intimate 𝐃𝐉 𝐬𝐞𝐭𝐬 đŸđ«đšđŠ đđ«đąđšđ§ 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧, and also some performances of local artists.
All proceeds from the tickets went, obviously, straight to 𝐂𝐀𝐋𝐌.

✨Additionally, contemporary British artist đ‘ș𝒕𝒖𝒂𝒓𝒕 đ‘ș𝒆𝒎𝒑𝒍𝒆 designed a limited set of artwork posters in which he remixes iconic images from Placebo’s album art over the years. The original print, 𝒔𝒊𝒈𝒏𝒆𝒅 𝒃𝒚 đ‘©đ’“đ’Šđ’‚đ’ 𝑮𝒐𝒍𝒌𝒐, đ‘ș𝒕𝒆𝒇𝒂𝒏 đ‘¶đ’đ’”đ’…đ’‚đ’, 𝒂𝒏𝒅 đ‘ș𝒕𝒖𝒂𝒓𝒕 đ‘ș𝒆𝒎𝒑𝒍𝒆, was auctioned in aid of 𝐂𝐀𝐋𝐌.

Below, you can read the whole story behind this special event told by its organizer, Joe Kenway.

Photo credit: Stan

⭐️𝐏𝐋𝐀𝐂𝐄𝐁𝐎/𝐎𝐅𝐅𝐈𝐂𝐄𝐑𝐒 𝐀𝐅𝐓𝐄𝐑 𝐏𝐀𝐑𝐓𝐘 𝐅𝐔𝐍𝐃𝐑𝐀𝐈𝐒𝐄𝐑⭐️
“Back in October I met Tony Ereira, a trustee for the Charity CALM and one of the founding member of Leeds Record Label Hatch Records. The conversation remained largely on the subject of music and after a while talk moved towards Tony’s idea of combining his musical interests with his work with CALM.
He explained that the charity was all about reaching out to men who might be going through a tough time, with a particular focus on combating the causes and consequences of mental illness in men, where suicide rates are disproportionately high. He saw real potential in utilising the openness that people find in music as a form of expression as a way of getting across the ethos of the charity.
To me, this came across as a real worthwhile cause and a really exciting project to get involved with. On this basis I met Tony again, along with Jamie and Matt, CALM Ambassadors and members of local Yorkshire band OFFICERS.

We spent some time discussing what kind of events could work and who we could approach to get involved. It was Jamie and Matt who proposed đ‘·đ’đ’‚đ’„đ’†đ’ƒđ’ as a potential collaborator, seeing as they knew the band (just a casual friendship, of course) and thought it would be the kind of charity which they would definitely be keen to represent.
We seized the opportunity to use this as a real high-profile first event to launch Tony’s idea. Jamie mentioned that they were conveniently playing the O2 Academy on the 9th of March and we all agreed that an afterparty for the show would be ideal.

We spoke to a few venues about the possibility of holding the event and Leeds University Union jumped straight on board. They really appreciated the charity focused motive at the forefront of the event and we were very glad to have them on board.
Once the venue was lined up, we looked for another act or two for the night. Tony spoke to Leeds locals Hookworms (another casual acquaintance). […] We were thrilled when they agreed to do a set as it meant us having a representative from the city itself; it felt like the perfect match. Before we knew it, the night was upon us.

The crowd was beginning to flood in from the O2 gig when Hookworms frontman MJ took to the stage. He traversed us through the influences behind the record during his hour long set. […]
Following MJ was an appearance from đ‘©đ’“đ’Šđ’‚đ’ 𝑮𝒐𝒍𝒌𝒐 himself. For the crowd this was a rare chance for a second glimpse of the Placebo frontman, all in one night. Their excitement at being able to do so in such a personal and intimate setting was palpable as he walked on stage.




đ‘©đ’“đ’Šđ’‚đ’ kept the crowd mesmerized with a set of electronica that traversed the light and ethereal as well as the darker heavier tones. There was an orchestrated restraint to the set that kept the tension high whilst never letting the build-up fully spill over, inducing a state of transfixion on the audience. It was a joy to hear the multitude of the singer’s influences and how this had impacted the sound of Placebo over the last 20 years, an anniversary being marked by their current worldwide tour, and a historical look back over all their material having recently made their entire back catalogue available to stream online.

đ‘ș𝒕𝒆𝒇𝒂𝒏 đ‘¶đ’đ’”đ’…đ’‚đ’, second Placebo member of the night, gave us another insight here. His electronica took on a much more beat focused sound. There were still the swatches of sharp harmonic movement that we heard from Brian, but this time with the kind of rhythmic background that you might well expect from one half of the band’s rhythm section.

It almost felt as though this was the release to which Brian Molko’s set had been building up to. Showing that the pair were still very much working in tandem and that in 20 years their musical output had only grown more synchronised (rather than drifting apart as so many musical contingents find). It rounded off the night in classic fashion with a large portion of the crowd baying for more even at the end of Stefan’s set.
The night was a real success. The ethos of the charity matched with the approach the musicians take and had the profound effect we had hoped for …”
(𝑇ℎ𝑒 đ¶đŽđżđ‘€ 𝑍𝑜𝑛𝑒, 𝑀𝑎𝑟𝑐ℎ 26𝑡ℎ, 2015)

Post by Olga

miércoles, 13 de octubre de 2021

🎉⭐𝗧𝗛𝗘 𝟼𝟬 đ—Źđ—˜đ—”đ—„đ—Š đ—§đ—ąđ—šđ—„⭐🎉

"đ–đžđ„đœđšđŠđž 𝐭𝐹 đšđźđ« đ›đąđ«đ­đĄđđšđČ đ©đšđ«đ­đČ!!!“

These words were characteristic of the entire last Placebo world tour with which the band celebrated 𝐭𝐡𝐞 𝟐𝟎𝐭𝐡 đšđ§đ§đąđŻđžđ«đŹđšđ«đČ 𝐹𝐟 𝐭𝐡𝐞 đ«đžđ„đžđšđŹđž 𝐹𝐟 đ­đĄđžđąđ« 𝐝𝐞𝐛𝐼𝐭 đšđ„đ›đźđŠ.
And today, we commemorate this amazing and at the same time, perhaps the most touching Placebo ride, which began on October 13, 2016 and ended on October 24, 2017 with 90 concerts across Europe, Australia and Mexico.

Photo credit: Lost Realist, Melanie Smith, BBC6 music radio, (2) unknown, edit by Marti

🔾⭐🔾𝐏𝐋𝐀𝐂𝐄𝐁𝐎 – 𝟐𝟎𝐓𝐇 𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘 𝐓𝐎𝐔𝐑🔾⭐🔾


Why the most touching?
Because this birthday party didn't have the happiest start. In addition, Brian said in several interviews that it was a big problem for him to think about planning this tour at all and to discuss the list of songs that accompanied his rather difficult life:

⭐“đŒđ‘Ą 𝑡𝑜𝑜𝑘 𝑎 𝑔𝑟𝑒𝑎𝑡 𝑑𝑒𝑎𝑙 𝑜𝑓 𝑐𝑟𝑩𝑖𝑛𝑔 𝑎𝑛𝑑 𝑝𝑎𝑖𝑛 𝑓𝑜𝑟 𝑚𝑒 𝑡𝑜 𝑔𝑒𝑡 𝑡𝑜 𝑡ℎ𝑒 𝑝𝑜𝑖𝑛𝑡 đ‘€â„Žđ‘’đ‘Ÿđ‘’ đŒ 𝑐𝑜𝑱𝑙𝑑 𝑎𝑐𝑡𝑱𝑎𝑙𝑙𝑩 𝑑𝑜 𝑡ℎ𝑖𝑠 𝑟𝑒𝑡𝑟𝑜𝑠𝑝𝑒𝑐𝑡𝑖𝑣𝑒 đ‘ â„Žđ‘œđ‘€,” 𝑀𝑜𝑙𝑘𝑜 𝑙𝑎𝑱𝑔ℎ𝑠.
“𝐮𝑡 𝑡ℎ𝑒 𝑠𝑡𝑎𝑟𝑡 đŒ đ‘€đ‘Žđ‘ đ‘›’𝑡 𝑠𝑱𝑟𝑒 𝑖𝑓 𝑖𝑡 đ‘€đ‘Žđ‘  𝑔𝑜𝑖𝑛𝑔 𝑡𝑜 𝑏𝑒 𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒 𝑓𝑜𝑟 𝑚𝑒 𝑡𝑜 𝑑𝑜 𝑖𝑡 𝑜𝑛 𝑎𝑛 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 𝑙𝑒𝑣𝑒𝑙. đ”đ‘ąđ‘Ą 𝑎𝑠 đ‘€đ‘’ 𝑠𝑡𝑎𝑟𝑡𝑒𝑑 𝑡𝑜 𝑑𝑜 𝑖𝑡 𝑡ℎ𝑒 𝑟𝑒𝑠𝑝𝑜𝑛𝑠𝑒 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 đ‘đ‘Ÿđ‘œđ‘€đ‘‘ đ‘€đ‘Žđ‘  𝑗𝑱𝑠𝑡 𝑠𝑜 𝑒𝑱𝑝ℎ𝑜𝑟𝑖𝑐 𝑡ℎ𝑎𝑡 𝑡ℎ𝑎𝑡’𝑠 đ‘€â„Žđ‘Žđ‘Ą đ‘€đ‘’ 𝑠𝑡𝑎𝑟𝑡𝑒𝑑 𝑡𝑜 𝑓𝑒𝑒𝑑 𝑓𝑟𝑜𝑚 — 𝑡ℎ𝑒 𝑒𝑱𝑝ℎ𝑜𝑟𝑖𝑎 đ‘€đ‘’ đ‘€đ‘’đ‘Ÿđ‘’ 𝑐𝑟𝑒𝑎𝑡𝑖𝑛𝑔 𝑖𝑛 𝑡ℎ𝑒 𝑎𝑱𝑑𝑖𝑒𝑛𝑐𝑒.
𝑇ℎ𝑎𝑡’𝑠 đ‘€â„Žđ‘Žđ‘Ą’𝑠 𝑔𝑖𝑣𝑖𝑛𝑔 𝑱𝑠 𝑡ℎ𝑒 𝑒𝑛𝑒𝑟𝑔𝑩 𝑡𝑜 𝑑𝑜 𝑖𝑡 𝑎𝑛𝑑 𝑚𝑎𝑘𝑖𝑛𝑔 𝑖𝑡 𝑎 𝑙𝑜𝑡 𝑜𝑓 𝑓𝑱𝑛.”
(đ”đ‘Ÿđ‘–đ‘Žđ‘› 𝑀𝑜𝑙𝑘𝑜, 𝑇ℎ𝑒 𝑊𝑒𝑠𝑡 𝐮𝑱𝑠𝑡𝑟𝑎𝑙𝑖𝑎𝑛, 𝐮𝑱𝑔𝑱𝑠𝑡 2017)

But this tour was also unique in that fans were invited to help put together their dream setlist:
⭐"𝑊𝑒 𝑙𝑒𝑡 𝑜𝑱𝑟 𝑓𝑎𝑛𝑠 ℎ𝑎𝑣𝑒 𝑎 𝑔𝑟𝑒𝑎𝑡 𝑑𝑒𝑎𝑙 𝑜𝑓 𝑖𝑛𝑝𝑱𝑡 đ‘€đ‘–đ‘Ąâ„Ž 𝑜𝑱𝑟 𝑠𝑒𝑡𝑙𝑖𝑠𝑡 𝑎𝑛𝑑 𝑡ℎ𝑒𝑩 ℎ𝑎𝑣𝑒 𝑟𝑒𝑎𝑙𝑙𝑩 ℎ𝑒𝑙𝑝𝑒𝑑 𝑠ℎ𝑎𝑝𝑒𝑑 𝑡ℎ𝑖𝑠 𝑡𝑜𝑱𝑟. 𝑇ℎ𝑒𝑠𝑒 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒𝑠 đ‘€đ‘–đ‘™đ‘™ 𝑏𝑟𝑖𝑛𝑔 𝑡𝑜𝑔𝑒𝑡ℎ𝑒𝑟 𝑏𝑜𝑡ℎ 𝑜𝑱𝑟 𝑖𝑑𝑒𝑎 𝑜𝑓 𝑜𝑱𝑟 𝑏𝑒𝑠𝑡 𝑙𝑖𝑣𝑒 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑎𝑛𝑑 𝑎𝑙𝑠𝑜 𝑡ℎ𝑒 𝑓𝑎𝑛𝑠."
(đ”đ‘Ÿđ‘–đ‘Žđ‘› 𝑀𝑜𝑙𝑘𝑜, đžđ‘„đ‘đ‘Ÿđ‘’đ‘ đ‘  𝑆𝑡𝑎𝑟, đ·đ‘’đ‘.2016)

🔾𝑹𝒏𝒅 𝒕𝒐𝒅𝒂𝒚 𝑰 𝒘𝒐𝒖𝒍𝒅 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒓𝒆𝒄𝒂𝒍𝒍 𝒂 𝒇𝒆𝒘 𝒊𝒎𝒑𝒐𝒓𝒕𝒂𝒏𝒕 𝒎𝒊𝒍𝒆𝒔𝒕𝒐𝒏𝒆𝒔 𝒕𝒉𝒂𝒕 𝒎𝒂𝒓𝒌𝒆𝒅 𝒕𝒉𝒆 𝒘𝒉𝒐𝒍𝒆 𝒕𝒐𝒖𝒓:

♦♦  The death of David Bowie in January 2016.
A big blow for both Brian and Stefan, which broke their life-friendly or even fatherly bond.
Brian told Independent magazine in 2017:
⭐“𝑊𝑒’𝑣𝑒 𝑏𝑒𝑒𝑛 𝑓𝑙𝑎𝑠ℎ𝑖𝑛𝑔 𝑱𝑝 𝑖𝑚𝑎𝑔𝑒𝑠 𝑜𝑓 đ·đ‘Žđ‘Łđ‘–đ‘‘ đ‘€â„Žđ‘–đ‘™đ‘ đ‘Ą 𝑝𝑙𝑎𝑩𝑖𝑛𝑔 ‘𝑊𝑖𝑡ℎ𝑜𝑱𝑡 𝑌𝑜𝑱 đŒ’𝑚 𝑁𝑜𝑡ℎ𝑖𝑛𝑔’ 𝑜𝑛 𝑡ℎ𝑖𝑠 𝑡𝑜𝑱𝑟 𝑎𝑛𝑑 𝑠𝑜𝑚𝑒 𝑛𝑖𝑔ℎ𝑡𝑠 𝑖𝑡'𝑠 𝑏𝑒𝑒𝑛 𝑠𝑱𝑐ℎ 𝑎𝑛 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 đ‘’đ‘„đ‘đ‘’đ‘Ÿđ‘–đ‘’đ‘›đ‘đ‘’ 𝑡ℎ𝑎𝑡 đŒ'𝑣𝑒 𝑐𝑜𝑚𝑒 𝑣𝑒𝑟𝑩 𝑐𝑙𝑜𝑠𝑒 𝑡𝑜 𝑏𝑟𝑒𝑎𝑘𝑖𝑛𝑔 đ‘‘đ‘œđ‘€đ‘› 𝑖𝑛𝑡𝑜 𝑡𝑒𝑎𝑟𝑠" 𝑀𝑜𝑙𝑘𝑜 𝑐𝑜𝑛𝑓𝑖𝑑𝑒𝑠.
"𝑇ℎ𝑒𝑟𝑒 đ‘€đ‘Žđ‘  𝑎 𝑝𝑜𝑖𝑛𝑡 𝑑𝑱𝑟𝑖𝑛𝑔 𝑡ℎ𝑒 𝑠𝑱𝑚𝑚𝑒𝑟 đ‘€â„Žđ‘’đ‘Ÿđ‘’ đŒ 𝑠𝑎𝑖𝑑 𝑡𝑜 𝑆𝑡𝑒𝑓𝑎𝑛 'đŒ'𝑚 𝑛𝑜𝑡 𝑡𝑜𝑜 𝑠𝑱𝑟𝑒 𝑖𝑓 đŒ 𝑐𝑎𝑛 𝑝𝑙𝑎𝑩 𝑡ℎ𝑖𝑠 𝑎𝑛𝑩𝑚𝑜𝑟𝑒, 𝑖𝑡'𝑠 𝑡𝑒𝑎𝑟𝑖𝑛𝑔 𝑚𝑒 𝑎𝑝𝑎𝑟𝑡'.
đ”đ‘ąđ‘Ą đŒ’𝑣𝑒 𝑔𝑜𝑡 𝑜𝑣𝑒𝑟 𝑡ℎ𝑎𝑡 đ‘›đ‘œđ‘€ 𝑎𝑛𝑑 𝑖𝑛𝑠𝑡𝑒𝑎𝑑, 𝑖𝑡 ℎ𝑎𝑠 𝑏𝑒𝑐𝑜𝑚𝑒 𝑎 𝑐𝑒𝑙𝑒𝑏𝑟𝑎𝑡𝑖𝑜𝑛 𝑜𝑓 đ‘€â„Žđ‘œ đ·đ‘Žđ‘Łđ‘–đ‘‘ đ”đ‘œđ‘€đ‘–đ‘’ đ‘€đ‘Žđ‘  𝑎𝑛𝑑 𝑡ℎ𝑒 𝑖𝑚𝑝𝑎𝑐𝑡 ℎ𝑒 ℎ𝑎𝑑 𝑜𝑛 𝑚𝑒 𝑎𝑠 𝑎 ℎ𝑱𝑚𝑎𝑛 𝑏𝑒𝑖𝑛𝑔, 𝑎𝑠 đ‘€đ‘’đ‘™đ‘™ 𝑎𝑠 𝑎 𝑚𝑱𝑠𝑖𝑐𝑖𝑎𝑛. 𝑇ℎ𝑒 𝑏𝑒𝑠𝑡 𝑎𝑑𝑣𝑖𝑐𝑒 ℎ𝑒 𝑒𝑣𝑒𝑟 𝑔𝑎𝑣𝑒 𝑱𝑠 đ‘€đ‘Žđ‘  'đ‘€â„Žđ‘Žđ‘Ąđ‘’đ‘Łđ‘’đ‘Ÿ 𝑩𝑜𝑱 𝑑𝑜, 𝑛𝑒𝑣𝑒𝑟 𝑙𝑜𝑠𝑒 𝑩𝑜𝑱𝑟 𝑠𝑝𝑜𝑛𝑡𝑎𝑛𝑒𝑖𝑡𝑩'.
đ·đ‘Žđ‘Łđ‘–đ‘‘ đ‘€đ‘Žđ‘  đ‘Žđ‘™đ‘€đ‘Žđ‘Šđ‘  𝑜𝑛𝑒 𝑓𝑜𝑟 𝑡𝑎𝑘𝑖𝑛𝑔 𝑙𝑒𝑓𝑡-𝑐𝑜𝑟𝑛𝑒𝑟𝑠 𝑎𝑛𝑑 𝑔𝑜𝑖𝑛𝑔 𝑜𝑓𝑓 𝑜𝑛 𝑡𝑎𝑛𝑔𝑒𝑛𝑡𝑠 𝑎𝑛𝑑 đŒ 𝑡ℎ𝑖𝑛𝑘 ℎ𝑒 𝑖𝑛𝑓𝑱𝑠𝑒𝑑 𝑎 𝑐𝑜𝑱𝑟𝑎𝑔𝑒 𝑖𝑛 𝑱𝑠 𝑡𝑜 𝑑𝑜 đ‘’đ‘„đ‘Žđ‘đ‘Ąđ‘™đ‘Š 𝑡ℎ𝑎𝑡, 𝑡𝑜 𝑐𝑜𝑛𝑠𝑡𝑎𝑛𝑡𝑙𝑩 𝑟𝑒-𝑖𝑛𝑣𝑒𝑛𝑡 𝑜𝑱𝑟𝑠𝑒𝑙𝑣𝑒𝑠.
𝑆𝑜 𝑩𝑒𝑠 𝑡ℎ𝑒 𝑠𝑖𝑔𝑛𝑖𝑓𝑖𝑐𝑎𝑛𝑐𝑒 ℎ𝑎𝑠 𝑐ℎ𝑎𝑛𝑔𝑒𝑑, 𝑖𝑡'𝑠 𝑏𝑒𝑐𝑜𝑚𝑒 𝑎 𝑙𝑜𝑡 𝑚𝑜𝑟𝑒 𝑎𝑏𝑜𝑱𝑡 đ·đ‘Žđ‘Łđ‘–đ‘‘ 𝑓𝑜𝑟 𝑚𝑒, đ‘€â„Žđ‘–đ‘â„Ž 𝑖𝑠 𝑜𝑘. đ»đ‘’'𝑠 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑐𝑜𝑛𝑠𝑡𝑎𝑛𝑡𝑙𝑩 đ‘€đ‘–đ‘Ąâ„Ž 𝑚𝑒 𝑎𝑡 𝑡ℎ𝑒 𝑚𝑜𝑚𝑒𝑛𝑡, đ‘€â„Žđ‘–đ‘â„Ž 𝑖𝑠 𝑞𝑱𝑖𝑡𝑒 đ‘ đ‘€đ‘’đ‘’đ‘Ą 𝑎𝑛𝑑 đŒ 𝑟𝑒𝑓𝑙𝑒𝑐𝑡 𝑜𝑛 𝑜𝑱𝑟 𝑐𝑜𝑛𝑣𝑒𝑟𝑠𝑎𝑡𝑖𝑜𝑛𝑠, 𝑜𝑛 ℎ𝑖𝑠 𝑎𝑑𝑣𝑖𝑐𝑒 𝑎𝑛𝑑 đ‘€â„Žđ‘Žđ‘Ą 𝑖𝑡 đ‘€đ‘Žđ‘  𝑙𝑖𝑘𝑒 𝑡𝑜 𝑠𝑒𝑒 ℎ𝑖𝑚 𝑝𝑙𝑎𝑩 𝑒𝑣𝑒𝑟𝑩 𝑛𝑖𝑔ℎ𝑡 𝑓𝑜𝑟 𝑓𝑖𝑣𝑒 𝑩𝑒𝑎𝑟𝑠 đ‘€â„Žđ‘’đ‘› đ‘€đ‘’ đ‘€đ‘’đ‘Ÿđ‘’ 𝑡𝑜𝑱𝑟𝑖𝑛𝑔 𝑡𝑜𝑔𝑒𝑡ℎ𝑒𝑟; ℎ𝑒'𝑠 𝑙𝑖𝑘𝑒 𝑚𝑩 𝑔𝑱𝑎𝑟𝑑𝑖𝑎𝑛 𝑎𝑛𝑔𝑒𝑙!”

Photo credit unknown

Stefan's memories of David are also worth remembering:
⭐“𝑊𝑒 đ‘€đ‘’đ‘Ÿđ‘’ 𝑠𝑜 𝑠𝑝𝑜𝑖𝑙𝑡, 𝑙𝑜𝑜𝑘𝑖𝑛𝑔 𝑏𝑎𝑐𝑘 𝑜𝑛 𝑖𝑡. đ»đ‘’ 𝑡𝑜𝑜𝑘 𝑱𝑠 𝑱𝑛𝑑𝑒𝑟 ℎ𝑖𝑠 đ‘€đ‘–đ‘›đ‘” 𝑎𝑛𝑑 ℎ𝑒 đ‘€đ‘Žđ‘  𝑡ℎ𝑒 𝑡𝑟𝑱𝑒𝑠𝑡 𝑔𝑒𝑛𝑡𝑙𝑒𝑚𝑎𝑛 𝑎𝑛𝑑 đ‘Žđ‘™đ‘€đ‘Žđ‘Šđ‘  ℎ𝑎𝑑 𝑡𝑖𝑚𝑒 𝑓𝑜𝑟 𝑩𝑜𝑱.
đ»đ‘’ đ‘Žđ‘™đ‘€đ‘Žđ‘Šđ‘  𝑙𝑜𝑜𝑘𝑒𝑑 𝑎𝑡 𝑩𝑜𝑱 𝑙𝑖𝑘𝑒 𝑎𝑛 𝑒𝑞𝑱𝑎𝑙, ℎ𝑒 đ‘€đ‘Žđ‘  𝑛𝑒𝑣𝑒𝑟 𝑡ℎ𝑒 𝑏𝑖𝑔 𝑠𝑡𝑎𝑟 𝑎𝑛𝑑 đ‘€đ‘–đ‘Ąâ„Ž ℎ𝑖𝑠 𝑎𝑡𝑡𝑖𝑡𝑱𝑑𝑒 𝑖𝑡 𝑗𝑱𝑠𝑡 𝑖𝑛𝑠𝑡𝑖𝑙𝑙𝑒𝑑 𝑱𝑠 đ‘€đ‘–đ‘Ąâ„Ž 𝑐𝑜𝑛𝑓𝑖𝑑𝑒𝑛𝑐𝑒 𝑎𝑡 𝑎 𝑣𝑒𝑟𝑩 𝑒𝑎𝑟𝑙𝑩 𝑠𝑡𝑎𝑔𝑒. 𝑇𝑜 ℎ𝑎𝑣𝑒 𝑠𝑜𝑚𝑒𝑜𝑛𝑒 𝑐ℎ𝑎𝑚𝑝𝑖𝑜𝑛𝑖𝑛𝑔 𝑩𝑜𝑱 𝑒𝑣𝑒𝑛 𝑏𝑒𝑓𝑜𝑟𝑒 𝑜𝑱𝑟 𝑓𝑖𝑟𝑠𝑡 𝑎𝑙𝑏𝑱𝑚 𝑐𝑎𝑚𝑒 𝑜𝑱𝑡 đ‘€đ‘Žđ‘  𝑠𝑜𝑚𝑒𝑡ℎ𝑖𝑛𝑔 𝑝𝑟𝑒𝑡𝑡𝑩 đ‘’đ‘„đ‘Ąđ‘Ÿđ‘Žđ‘œđ‘Ÿđ‘‘đ‘–đ‘›đ‘Žđ‘Ÿđ‘Š, 𝑙𝑜𝑜𝑘𝑖𝑛𝑔 𝑏𝑎𝑐𝑘 𝑜𝑛 𝑖𝑡, 𝑎𝑛𝑑 đ‘€đ‘’ đ‘œđ‘€đ‘’ ℎ𝑖𝑚 𝑎 𝑔𝑟𝑒𝑎𝑡 𝑑𝑒𝑎𝑙.
đ»đ‘’ đ‘€đ‘Žđ‘  𝑓𝑜𝑟𝑒𝑣𝑒𝑟 𝑡ℎ𝑒 𝑒𝑛𝑡ℎ𝑱𝑠𝑖𝑎𝑠𝑡 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑝𝑒𝑟𝑠𝑜𝑛 đ‘€đ‘–đ‘Ąâ„Ž 𝑡ℎ𝑒 𝑏𝑒𝑠𝑡 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑏𝑖𝑔𝑔𝑒𝑠𝑡 𝑠𝑡𝑜𝑟𝑖𝑒𝑠 𝑖𝑛 𝑡ℎ𝑒 𝑟𝑜𝑜𝑚, 𝑛𝑜 𝑑𝑜𝑱𝑏𝑡.
𝑊𝑒’𝑣𝑒 𝑏𝑟𝑜𝑱𝑔ℎ𝑡 𝑡ℎ𝑎𝑡 𝑡𝑟𝑎𝑐𝑘, 𝑊𝑖𝑡ℎ𝑜𝑱𝑡 𝑌𝑜𝑱 đŒ’𝑚 𝑁𝑜𝑡ℎ𝑖𝑛𝑔, 𝑏𝑎𝑐𝑘 𝑖𝑛𝑡𝑜 𝑡ℎ𝑒 𝑠𝑒𝑡 𝑓𝑜𝑟 𝑡ℎ𝑖𝑠 𝑡𝑜𝑱𝑟 𝑎𝑛𝑑 𝑖𝑡’𝑠 𝑎 𝑣𝑒𝑟𝑩 𝑝𝑜𝑖𝑔𝑛𝑎𝑛𝑡 𝑚𝑜𝑚𝑒𝑛𝑡. đŒ 𝑑𝑜𝑛’𝑡 đ‘˜đ‘›đ‘œđ‘€ 𝑖𝑓 đŒ’𝑚 𝑔𝑒𝑡𝑡𝑖𝑛𝑔 𝑜𝑙𝑑 𝑏𝑱𝑡 đŒ 𝑔𝑒𝑡 𝑠𝑜𝑝𝑝𝑩 𝑒𝑣𝑒𝑟𝑩 𝑡𝑖𝑚𝑒 đ‘€đ‘’ 𝑝𝑙𝑎𝑩 𝑖𝑡. đč𝑜𝑟 𝑚𝑒 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑙𝑙𝑩 ℎ𝑒 đ‘€đ‘Žđ‘  𝑙𝑖𝑘𝑒 𝑎 𝑓𝑎𝑚𝑖𝑙𝑩 𝑚𝑒𝑚𝑏𝑒𝑟 𝑡ℎ𝑎𝑡 𝑝𝑎𝑠𝑠𝑒𝑑. đ»đ‘’ 𝑟𝑒𝑎𝑙𝑙𝑩 đ‘€đ‘Žđ‘  𝑠𝑜𝑚𝑒𝑜𝑛𝑒 đ‘€â„Žđ‘œ 𝑡𝑜𝑱𝑐ℎ𝑒𝑑 𝑱𝑠 𝑜𝑛 𝑚𝑜𝑟𝑒 𝑙𝑒𝑣𝑒𝑙𝑠 𝑡ℎ𝑎𝑛 𝑗𝑱𝑠𝑡 𝑚𝑱𝑠𝑖𝑐𝑎𝑙𝑙𝑩.”
(𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙, 𝑌𝑜𝑟𝑘𝑠ℎ𝑖𝑟𝑒 𝐾𝑣𝑒𝑛𝑖𝑛𝑔 𝑃𝑜𝑠𝑡, đ·đ‘’đ‘. 2016)

⭐"đ”đ‘œđ‘Ąâ„Ž đ”đ‘Ÿđ‘–đ‘Žđ‘› 𝑎𝑛𝑑 đŒ đ‘€đ‘’đ‘Ÿđ‘’ 𝑖𝑛 𝑡𝑒𝑎𝑟𝑠 đ‘€â„Žđ‘’đ‘› đ‘€đ‘’ ℎ𝑒𝑎𝑟𝑑 𝑡ℎ𝑒 đ‘›đ‘’đ‘€đ‘  𝑎𝑏𝑜𝑱𝑡 đ·đ‘Žđ‘Łđ‘–đ‘‘. đŒđ‘Ą đ‘€đ‘Žđ‘  𝑙𝑖𝑘𝑒 𝑙𝑜𝑠𝑖𝑛𝑔 𝑎 𝑓𝑎𝑚𝑖𝑙𝑩 𝑚𝑒𝑚𝑏𝑒𝑟 𝑎𝑛𝑑 𝑖𝑡 đ‘€đ‘Žđ‘  𝑣𝑒𝑟𝑩 𝑑𝑎𝑟𝑘 𝑓𝑜𝑟 𝑱𝑠."
(𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙, đčđ‘œđ‘ąđ‘Ÿđ¶đ‘ąđ‘™đ‘Ąđ‘ąđ‘Ÿđ‘’, 𝑂𝑐𝑡. 2016)

🔾In the video of the song Without You I'm Nothing from Moscow, October 2016, you can see how Brian relived the loss of his friend:
https://bit.ly/3v7C4ic

🔾Two videos from Antwerp 2016, a 2-minute standing ovation from the auditorium in honor of David:
https://bit.ly/3BASUZt
https://bit.ly/30n2BwT

♦ ♦  Aarhus, Denmark - yes, let's go back to the beginning - it was the first concert of the whole tour:
We all know it didn't turn out the best. It is likely that Brian's very fragile mental state, along with new medication, caused his mental collapse.
The gig in Aarhus had to end after the first two songs.
Still, how painful it was for all the fans, and not only for them, but especially for Brian and the band, I would like to publish videos that show that Brian tried very hard to explain everything humanly to the people in the crowd. It certainly wasn't like he ran off the stage without a word. And the very next day, Placebo played a perfect show in Copenhagen.

🔾Placebo Aarhus 2016
https://bit.ly/3ayOUNk
https://bit.ly/2YKlaKJ

♦ ♦ Death of Leonard Cohen - November 2016.
This Canadian artist was a great musical role model for Brian. That's why the tribute for Leonard Cohen was included in the Placebo show:
⭐„đŒ 𝑐𝑎𝑛 𝑠𝑖𝑡 𝑎𝑛𝑑 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑱𝑡 𝑡ℎ𝑎𝑡 𝑓𝑜𝑟 𝑞𝑱𝑖𝑡𝑒 𝑎 đ‘€â„Žđ‘–đ‘™đ‘’ 𝑏𝑱𝑡 𝑡ℎ𝑒𝑠𝑒 𝑑𝑎𝑩𝑠 𝑏𝑒𝑓𝑜𝑟𝑒 đ‘€đ‘’ 𝑔𝑜 𝑜𝑛 𝑠𝑡𝑎𝑔𝑒 𝑎𝑠 đ‘€đ‘’ 𝑝𝑙𝑎𝑩 𝑎 𝑙𝑖𝑡𝑡𝑙𝑒 ℎ𝑜𝑚𝑎𝑔𝑒 𝑡𝑜 𝐿𝑒𝑜𝑛𝑎𝑟𝑑 đ¶đ‘œâ„Žđ‘’đ‘› 𝑜𝑛 𝑜𝑱𝑟 𝑣𝑖𝑑𝑒𝑜 𝑠𝑐𝑟𝑒𝑒𝑛𝑠 𝑚𝑒 𝑎𝑛𝑑 đ”đ‘Ÿđ‘–đ‘Žđ‘› [𝑀𝑜𝑙𝑘𝑜, 𝑃𝑙𝑎𝑐𝑒𝑏𝑜’𝑠 𝑠𝑖𝑛𝑔𝑒𝑟 𝑎𝑛𝑑 𝑐𝑜-𝑓𝑜𝑱𝑛𝑑𝑒𝑟] 𝑙𝑜𝑜𝑘 𝑎𝑡 𝑒𝑎𝑐ℎ 𝑜𝑡ℎ𝑒𝑟 𝑎𝑛𝑑 𝑠𝑎𝑩, ‘𝑊𝑒 𝑠𝑡𝑖𝑙𝑙 ℎ𝑎𝑣𝑒 𝑒𝑎𝑐ℎ 𝑜𝑡ℎ𝑒𝑟 𝑎𝑛𝑑 đ‘€đ‘’’𝑟𝑒 𝑠𝑡𝑖𝑙𝑙 𝑑𝑜𝑖𝑛𝑔 𝑖𝑡, đ‘€đ‘’’𝑟𝑒 𝑏𝑙𝑒𝑠𝑠𝑒𝑑 đ‘€đ‘–đ‘Ąâ„Ž đ‘€â„Žđ‘Žđ‘Ą đ‘€đ‘’ ℎ𝑎𝑣𝑒."
(𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙, 𝑌𝑜𝑟𝑘𝑠ℎ𝑖𝑟𝑒 𝐾𝑣𝑒𝑛𝑖𝑛𝑔 𝑃𝑜𝑠𝑡, đ·đ‘’đ‘. 2016)

🔾Tribute to Leonard Cohen - Placebo 19 november 2016, Antwerp
https://bit.ly/3v5q0hy


♦ ♦ There were two other deaths that hit the guys in 2017:
rock musician Chris Cornell, leader of Soundgarden and Audioslave bands, committed suicide in May, and a few weeks later it was the suicide of Chester Bennington, who also lost his life in the fight with depression, which is Brian's and Stefan's lifelong theme.
⭐Placebo's statement:
https://bit.ly/3BAIadu

Photo credit: Miguel de Melo

𝐁𝐼𝐭 đ°đĄđąđ„đž 𝐭𝐡𝐞𝐬𝐞 𝐞𝐯𝐞𝐧𝐭𝐬 đŠđšđ«đ€đžđ 𝐭𝐡𝐱𝐬 đ­đšđźđ«, đ­đĄđžđ«đž đ°đžđ«đž 𝐩𝐚𝐧đČ đšđ­đĄđžđ«đŹ đ°đšđ«đ­đĄ đ«đžđŠđžđŠđ›đžđ«đąđ§đ .
🔾Brian with fans in Milan:
https://bit.ly/3mGxTpO

🔾Fans in Hamburg had an amazing Halloween show:
https://bit.ly/2YHnDp4

𝐀𝐧𝐝 𝐈 đšđ„đŹđš 𝐡𝐚𝐯𝐞 𝐭𝐰𝐹 đŠđžđŠđšđ«đąđžđŹ 𝐹𝐟 đđ«đąđšđ§ đ­đšđ€đąđ§đ  đœđšđ«đž 𝐹𝐟 𝐡𝐱𝐬 𝐟𝐚𝐧𝐬.
🔾The first video is from Moscow, where Brian interrupted the very rare song Lazarus to explain that they were at a Placebo concert and not at a Limp Bizkit concert:
https://bit.ly/3mTxL6O

🔾The second video proves that Brian really takes the care of his fans seriously. At a gig in Lille, he noticed a girl who had an epileptic seizure and stopped the show so that paramedics could get to the girl.
https://bit.ly/3iWP7ym

đ‡đšđ°đžđŻđžđ«, 𝐈 đ€đžđžđ© 𝐭𝐡𝐞 𝐩𝐹𝐬𝐭 đ›đžđšđźđ­đąđŸđźđ„ đŠđžđŠđšđ«đąđžđŹ 𝐚𝐭 𝐭𝐡𝐞 𝐞𝐧𝐝:
On Brian's 44th birthday, December 10, 2016, Placebo performed in Dublin, Ireland:
🔾Amazing video with the song "Slave to The Wage"
https://bit.ly/3v7P5IP

🔾Dancing audience during "Nancy Boy" and "Infra-Red"
https://bit.ly/3DEUryn

🔾And fans' applause for Brian's birthday
https://bit.ly/3oXkTz6

𝐀𝐧𝐝 𝐹𝐧𝐞 đŠđšđ«đž 𝐯𝐱𝐝𝐞𝐹 𝐭𝐡𝐚𝐭 đ­đšđšđ€ 𝐩đČ đ›đ«đžđšđ­đĄ 𝐚𝐰𝐚đČ. 𝐈𝐧 𝐟𝐚𝐜𝐭, 𝐱𝐭 đŹđĄđšđźđ„đ 𝐛𝐞 đŹđĄđšđ«đžđ đ«đąđ đĄđ­ 𝐚𝐭 𝐭𝐡𝐞 𝐛𝐞𝐠𝐱𝐧𝐧𝐱𝐧𝐠. 𝐁𝐼𝐭 𝐭𝐡𝐚𝐭'𝐬 𝐭𝐡𝐞 𝐛𝐞𝐬𝐭 𝐰𝐚đČ.
🔾Flashmob of Russian fans before the tour:
https://bit.ly/3BCRj5q
Dear friends, there are many more interviews and videos about this tour. But I think it's better to leave this place to all of you who may have experienced this tour in person. Share your memories with us, it will be very beautiful to read them!

Post by Marti

⭐đ—•đ—„đ—œđ—”đ—Ą 𝗠𝗱𝗟𝗞𝗱 đ—€đ—šđ—ąđ—§đ—˜đ—Š⭐

💠A French magazine from 2005 gathered several quotes by Brian Molko around differents topics entitled "đ¶đ‘Ÿđ‘–đ‘’đ‘  𝑎𝑛𝑑 đ‘€â„Žđ‘–đ‘ đ‘đ‘’đ‘Ÿđ‘ , 𝑀𝑖𝑠𝑡𝑒𝑟 𝑀𝑜𝑙𝑘𝑜'𝑠 𝑔𝑜𝑜𝑑 đ‘€đ‘œđ‘Ÿđ‘‘đ‘ " . Some are funny, others serious. Let's have a look at it !

Photo credits: Scarlet Page, edit by Laetitia

✨đ‘”đ’ 𝒓𝒆𝒔𝒑𝒆𝒄𝒕 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒆𝒍𝒅𝒆𝒓𝒔...

"Honestly, who cares about the Stones today? These people leave their living rooms once in a while, go to football stadiums, play a bit of rock'n'roll and go home to put on their slippers with a little more money in their bank account." (1999)


✨𝑰𝒏𝒕𝒊𝒎𝒂𝒕𝒆 đ‘Ș𝒐𝒏𝒇𝒆𝒔𝒔𝒊𝒐𝒏𝒔

"I'm a fucking broken heart." (1997)


✨𝑼𝒐𝒅 𝒔𝒂𝒗𝒆 𝒕𝒉𝒆 𝑾𝒖𝒆𝒆𝒏

"Socialist England is looking more and more like the States. I'd like to see Buckingham Palace turned into a homeless shelter, and the royal family into a council flat."


✨đ‘»đ’đ’–đ’“ 1997

"I read Marylin Manson's autobiography, The Long Hard Road Out Of Hell, and it really made me want to go out and do as many drugs as possible and fuck as much as possible. It didn't go as far as it did for Manson, though, when he was throwing bits of cold meat at disabled people and pissing on them. There's a line you can't cross, and that line, for me, is cold meat..." (2000)


✨đ‘č𝒆𝒄𝒐𝒓𝒅 𝒊𝒏𝒅𝒖𝒔𝒕𝒓𝒚

"The ability of this business to ingest people, bribe them and then spit them out is impressive." (2004)


Photo credit: Kevin Westenberg
✨đ‘ș𝒆𝒄𝒓𝒆𝒕 𝒅𝒓𝒆𝒂𝒎

"I'd like to be in a girl band. We could pass around make-up turks, and talk about things that don't revolve around p*ssy all the time (...) If I were a girl, I'd be a bomb, I'd use my sexual power to destroy men. I would be a man-eater! (1999)


✨đ‘±đ’đ’–đ’“đ’đ’‚đ’đ’Šđ’”đ’•đ’”

"When I meet them, I get the impression that half of British rock journalists never get laid. That's why they reacted so strangely to my songs." (1998)


✨đ‘»đ’‰đ’Šđ’đ’ˆđ’‰đ’†đ’‚đ’…

"If I had to play Russian roulette with five people? I'll take Eminem to start with. Fred Durst to start... Britney Spears will be invited too, and Marilyn Manson, just because he's nuts enough to like it. Last one? Tony Blair." (2000)


✨đ‘»đ’‚đ’”đ’•đ’†đ’” 𝒂𝒏𝒅 𝒄𝒐𝒍𝒐𝒖𝒓𝒔

"Our sexual proclivities haven't changed, and we still wear make-up. It's just more expensive and better applied." (2003)


✨𝑮𝒚 𝒕𝒂𝒚𝒍𝒐𝒓 𝒊𝒔 𝒓𝒊𝒄𝒉

"Of course I'm perfectly aware of how much money I make, but I would never reveal any details, it would be far too vulgar." (2004)


✨đ‘ș𝒄𝒉𝒐𝒐𝒍 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔

"I wanted to be taller, I wanted to be sexier, I wanted to have fewer pimples. I can be all that. When I'm on stage, I'm all that." (1997)

Photo credit: Robin Francois

✨đ‘±đ’đ’šđ’” 𝒐𝒇 𝒕𝒉𝒆 𝒋𝒐𝒃

"After a year of touring, we'll have disgusting skin from eating too many sandwiches and drinking too much alcohol, we'll be foaming like cancer patients and probably not have a single friend anywhere! (1997)


✨𝑼𝒐𝒅 đ‘©đ’đ’†đ’”đ’” 𝑹𝒎𝒆𝒓𝒊𝒄𝒂

"As an American, I've always lived in Europe, and I feel like a stranger there. This country gets on my nerves. It's supposed to be the land of the free, and you can't smoke anywhere. Placebo may never work there because they're too smart for them. (2000)


✨𝑼𝒓𝒐𝒖𝒑𝒊𝒆𝒔

"Groupies? I've never heard of that. Ha! Ha! Ha! Normally we pick the best looking people in the audience, cram them into a backstage room, keep pouring them alcohol and wait to see what happens." (2000)


✨đ‘”đ’†đ’–đ’“đ’đ’”đ’†đ’”

"I'm quite happy with all my neuroses. They keep me awake, on the move. If I had to get rid of them all, I could become Sting. My God! I can't imagine anything worse on this planet." (2003)


✨𝑭𝒓𝒆𝒏𝒄𝒉 𝒇𝒂𝒏𝒔

"Over there, the groupies are real 'psychos', they are very young, very 'bad'. They all lie about their age. And they are very determined, like: 'How dare you come to my country without fucking me? (1998)


✨𝑳𝒐𝒏𝒈 𝒍𝒊𝒗𝒆 𝒓𝒆𝒕𝒊𝒓𝒆𝒎𝒆𝒏𝒕

"The world doesn't need another rock'n'roll victim. Cobain, Jim Hendrix, Janis Joplin... We don't need any more victims like them. I don't want that to happen. It doesn't mean I'm stronger than they were, but it's that I have this image of myself with Stef and Steve at sixty. Not playing, but sitting quietly and saying, 'Do you remember?'

(đŒđ‘›đ‘ đ‘Ąđ‘Žđ‘›đ‘Ą 𝑀𝑎𝑔, 𝑛°2 - 2005)


💠Don't you think the last sentence is touching ? 💕
What's your favorite amongst these ? 

Imagining Stefan and Brian remembering the old times makes me want to listen to đ‘ș𝒑𝒆𝒄𝒊𝒂𝒍 đ‘”đ’†đ’†đ’…đ’”... 'Remember me through flash photography and screams / Remember me, special dreams' đŸŽ¶

đŸŽ„ https://bit.ly/3kFaXI5

Post by Laetitia

martes, 12 de octubre de 2021

⭐🔾𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘: 𝐖𝐈𝐓𝐇𝐎𝐔𝐓 𝐘𝐎𝐔 𝐈'𝐌 𝐍𝐎𝐓𝐇𝐈𝐍𝐆🔾⭐

⭐„𝑰 𝒅𝒆𝒍𝒊𝒃𝒆𝒓𝒂𝒕𝒆𝒍𝒚 𝒅𝒊𝒅𝒏’𝒕 𝒘𝒓𝒊𝒕𝒆 𝒂 𝒓𝒆𝒎𝒂𝒌𝒆 𝒐𝒇 "đ‘”đ’‚đ’đ’„đ’š đ‘©đ’đ’š." 𝑰𝒕 𝒘𝒐𝒖𝒍𝒅 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒕𝒐𝒐 𝒆𝒂𝒔𝒚 𝒕𝒐 𝒇𝒂𝒍𝒍 𝒊𝒏𝒕𝒐 𝒕𝒉𝒂𝒕 𝒕𝒓𝒂𝒑. đ‘Ÿđ’† 𝒅𝒊𝒅𝒏’𝒕 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒃𝒆 𝒍𝒊𝒎𝒊𝒕𝒆𝒅, 𝒏𝒐𝒕 𝒕𝒉𝒂𝒕 𝒘𝒆 𝒘𝒐𝒖𝒍𝒅𝒏’𝒕 𝒍𝒊𝒌𝒆 𝒕𝒉𝒆 𝒔𝒐𝒏𝒈 𝒂𝒏𝒚𝒎𝒐𝒓𝒆, 𝒃𝒖𝒕 𝒘𝒆 𝒅𝒆𝒗𝒆𝒍𝒐𝒑𝒆𝒅, 𝒘𝒆𝒏𝒕 𝒇𝒐𝒓𝒘𝒂𝒓𝒅, 𝒂𝒏𝒅 𝒘𝒆 𝒅𝒊𝒅𝒏’𝒕 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒃𝒆 𝒓𝒆𝒅𝒖𝒄𝒆𝒅 𝒕𝒐 𝒐𝒏𝒆 𝒉𝒊𝒕. đ‘»đ’đ’ 𝒎𝒂𝒏𝒚 𝒃𝒂𝒏𝒅𝒔 𝒅𝒐 𝒕𝒉𝒂𝒕. đ‘»đ’‰đ’†đ’š 𝒕𝒂𝒌𝒆 𝒐𝒏𝒆 𝒉𝒊𝒕 𝒂𝒏𝒅 𝒋𝒖𝒔𝒕 𝒅𝒐 𝒓𝒆𝒘𝒓𝒊𝒕𝒆𝒔. đ‘»đ’‰đ’‚đ’•’𝒔 𝒍𝒂𝒄𝒌𝒊𝒏𝒈 𝒄𝒓𝒆𝒂𝒕𝒊𝒗𝒊𝒕𝒚. 𝑹𝒑𝒂𝒓𝒕 𝒇𝒓𝒐𝒎 𝒕𝒉𝒂𝒕, 𝒊𝒕 𝒘𝒐𝒖𝒍𝒅 𝒃𝒐𝒓𝒆 𝒎𝒆 𝒕𝒐 𝒕𝒆𝒂𝒓𝒔.“⭐
/áŽźÊłá¶Šá”ƒâż áŽčá”’ËĄá”á”’ ᔃᔇᔒᔘᔗ ᔂᶊᔗʰᔒᔘᔗ ʞᔒᔘ ᎔'ᔐ áŽșá”’á”—Ê°á¶Šâżá” ⁻ áŽ”âżá”—á”‰Êłá”›á¶Šá”‰Ê· ʷᶊᔗʰ áŽșÊž áŽżá”’á¶œá” ¹⁹⁹⁸/

Photo credit: Corinne Day (album cover, booklet), unknown (2) / edit by Marti

🔾⭐🔾
Dear friends, we have reason to celebrate again.
Today, 23 years ago - 12.10.1998 the album 🔾"𝐖𝐱𝐭𝐡𝐹𝐼𝐭 𝐘𝐹𝐼 𝐈'𝐩 𝐍𝐹𝐭𝐡𝐱𝐧𝐠"🔾 was born.
An album that can be called simply - 𝐚 đŠđšđŹđ­đžđ«đ©đąđžđœđž⭐.


⭐đ—Șđ—¶đ˜đ—”đ—Œđ˜‚đ˜ đ—Źđ—Œđ˜‚ 𝗜'đ—ș đ—Ąđ—Œđ˜đ—”đ—¶đ—»đ—Ž, 𝗣đ—č𝗼𝗰đ—Čđ—Żđ—Œ'𝘀 𝘀đ—Čđ—°đ—Œđ—»đ—± đ˜€đ˜đ˜‚đ—±đ—¶đ—Œ 𝗼đ—č𝗯𝘂đ—ș, was released by record labels Hut, Virgin Records and Elevator Music and is probably the most admired album by fans and critics to date. This album which produced 5 singles, including "Pure Morning" and "You don't care about us", was peaking at number seven in the UK Albums Chart and at number 20 on the US Billboard Heatseekers Albums chart. Without You I'm Nothing went platinum in the UK and gold in France and has been sold over one million copies to date.


It is full of gems in which each of us will find the story of our lives.
Can you admit which song from this album you like the most and what memories connect you to it?
🔾"𝐖𝐱𝐭𝐡𝐹𝐼𝐭 𝐘𝐹𝐼 𝐈'𝐩 𝐍𝐹𝐭𝐡𝐱𝐧𝐠" - đŽđŸđŸđąđœđąđšđ„ 𝐀𝐼𝐝𝐱𝐹🔾
https://bit.ly/3FDgYxi


𝐓𝐡𝐞 đžđ§đ­đąđ«đž đšđ„đ›đźđŠ 𝐰𝐚𝐬 đ©đ«đšđđźđœđžđ 𝐛đČ 𝐒𝐭𝐞𝐯𝐞 đŽđŹđ›đšđ«đ§đž, đžđ±đœđžđ©đ­ đŸđšđ« 𝐹𝐧𝐞 𝐬𝐹𝐧𝐠 - đđźđ«đž đŒđšđ«đ§đąđ§đ . đđ«đąđšđ§ 𝐬𝐭𝐚𝐭𝐞𝐝 đŸđšđ« 𝐕𝐱𝐜𝐞 𝐩𝐚𝐠𝐚𝐳𝐱𝐧𝐞 𝐱𝐧 𝟐𝟎𝟏𝟔:
🔾"I guess we were still learning how to use the studio, and we were looking to flesh out our sound beyond the power trio format. But it was a difficult record to make because we had a very dysfunctional relationship with our producer [Steve Osborne]. By the end of it, we weren't even talking. And it wasn't as if we'd had any major arguments. We started off not talking much anyway, and then as the months went by, it became less until there was no talking. It was such a strange atmosphere. The breakthrough track was "Pure Morning," and we didn't record that until our work with Steve was done. We recorded that during a B-side session with a different producer, Phil Vinall. That was like we were kids in a candy shop. It was borne out of chaos, because the pressure was off. So we just started playing around with all of these different sounds and that song was the result."🔾


We don't have to discuss at all how big a creative shift has been since the debut album in 1996.
However, the cover was also exceptional, on which we see two women, twins, sitting at a table facing each other, with a yellow background. Do you remember?


đŸ”žđ‘»đ’‰đ’† 𝒔𝒊𝒔𝒕𝒆𝒓𝒔 đ‘ș𝑹đ‘č𝑹𝑯 đ‘±. đ‘Źđ‘«đ‘Ÿđ‘šđ‘čđ‘«đ‘ș + đ‘ș𝑹𝑳𝑳𝒀 𝑹. đ‘Źđ‘«đ‘Ÿđ‘šđ‘čđ‘«đ‘ș 𝒘𝒆𝒓𝒆 𝒑𝒊𝒄𝒕𝒖𝒓𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒊𝒏𝒇𝒍𝒖𝒆𝒏𝒕𝒊𝒂𝒍 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉𝒆𝒓 đ‘Ș𝒐𝒓𝒊𝒏𝒏𝒆 đ‘«đ’‚đ’š. đ‘»đ’‰đ’†đ’š 𝒘𝒆𝒓𝒆 𝒗𝒆𝒓𝒚 𝒄𝒓𝒆𝒂𝒕𝒊𝒗𝒆 𝒈𝒊𝒓𝒍𝒔, 𝒂𝒄𝒕𝒊𝒗𝒆 𝒊𝒏 𝒕𝒉𝒆 đ‘Œđ‘Č 𝒎𝒖𝒔𝒊𝒄 𝒘𝒐𝒓𝒍𝒅 𝒊𝒏 𝒕𝒉𝒆 90𝒔.
“From their teens to early 20’s, Sally and Sarah maintained jobs in the music industry. Sally was one of the industry’s youngest female television pluggers. At 21, she independently represented several musicians, plus all Grand Royal Records artists for Beastie Boys. Her plugging efforts landed debut and some of the most infamous television appearances for musicians including At The Drive-In, Placebo and The Pharcyde to name a few.”
If you want to read more about the very interesting life of these two models, I definitely recommend their web Blag magazine.🔾
https://www.blagmagazine.com/biography
🔾⭐🔾

Photo credit: David Tonge

And I will say goodbye to you today with Stefan's memory.
In 2018, Stefan Olsdal gave many interviews on the occasion of the 20th anniversary of the release of this album. I will take this opportunity to share one of them with you. Let's move together to the time when this album was created and how the boys experienced it then.
I wish you a beautiful reading and look forward to sharing your own feelings, because for me personally, this album was an ignition of a huge flame of interest and love, as well as passion.

⭐𝑹𝒏𝒅 𝒕𝒉𝒂𝒕'𝒔 𝒘𝒉𝒚 𝑰 𝒄𝒐𝒖𝒍𝒅𝒏'𝒕 𝒓𝒆𝒔𝒊𝒔𝒕 𝒂𝒏𝒅 𝒇𝒐𝒖𝒏𝒅 𝒂 𝒇𝒆𝒘 𝒈𝒆𝒎𝒔 𝒇𝒐𝒓 𝒚𝒐𝒖.:
🔾 Every You Every Me (Werchter 2001)
https://bit.ly/3mBFy92

🔾 The Crawl (Glastonbury 1998)
https://bit.ly/3v39j6v

🔾 Allergic (To Thoughts of Mother Earth) Bizarre Festival 2000
https://bit.ly/3lqWcZz

🔾 You Don't Care About Us (Brixton Academy 1998)
https://bit.ly/3DA9b1r

🔾 My Sweet Prince (Brixton Academy 2001)
https://bit.ly/2YILfdo


📌𝐖𝐱𝐭𝐡𝐹𝐼𝐭 𝐘𝐹𝐼 𝐈'𝐩 𝐍𝐹𝐭𝐡𝐱𝐧𝐠: đ‚đžđ„đžđ›đ«đšđ­đąđ§đ  𝐭𝐡𝐞 đšđ„đ›đźđŠ 𝐭𝐡𝐚𝐭 𝐩𝐚𝐝𝐞 đđ„đšđœđžđ›đš đŹđźđ©đžđ«đŹđ­đšđ«đŹ
𝐁đČ đđ«đąđšđ§đČ đ„đđ°đšđ«đđŹ, đŽđœđ­đšđ›đžđ« 𝟐𝟎𝟏𝟖


🔾If the musical landscape of late 90s Britain seemed almost tailor-made for Placebo’s curiously sleazy outsider sound, it’s because they pretty much created it themselves. While the band had enjoyed some success with their 1996 self-titled debut, its follow-up Without You I’m Nothing captured the imagination of a legion of music fans who found themselves at odds with the “straight lads from the pub” culture that came to dominate alternative music as the 90s drew to a close. “There wasn't really a scene for us,” the band’s co-founder, Stefan Olsdal, tells Louder. He’s joined us via telephone from a bustling cafe in London to discuss the album’s 20th anniversary, which falls almost to the day of our conversation. “We didn't really know where we fitted in that current music scene.” /.../


🔾The result was an album Olsdal describes as having “much more depth and width than the first.” Where Placebo had been a scrappy, tongue-in-cheek exploration of sexuality and gender – or “a high-octane celebration of being in your early 20s and taking life by the balls” – WYIN turned Placebo’s sound inwards, tightening and refining it. And while the success of their debut had opened more doors for the band – “touring, success, the lifestyle” – it hadn’t come without a price. “When it came to the second album, it was a bit like, 'Holy shit what just happened?!'” says Olsdal. “We were having some bad days and didn't realise why we were feeling that, or how to process our emotions. Couple that with a windowless basement studio, and I think some of the tracks became more introspective, and started to delve a little bit further into the darker recesses of human emotions.”


🔾Their darker sound ended up paying dividends: forget not being part of any scene, with WYIN, Placebo single-handedly carved out a space entirely their own. “I think we were just wanting to prove ourselves still,” says Olsdal. “I think at that time we still felt that people weren't really getting us, even though we had some success, commercially and artistically. We wanted to just show what we were, in terms of us as people, as lyricists and as musicians.”
They succeeded, and suddenly, the band were embraced by thousands of young people struggling to find their place in the world.


🔾The band hadn’t realised – nor were they fully mentally prepared for – the album to take off like it did. “Mentally we were in that basement studio, you know? That's where our heads were at – our real heads were there,” says Olsdal. “But we were arrogant little pricks as well, so we thought everything we did was amazing. This whole enabling machine was kicking in and our egos were quite inflated. We were in our early 20s, and in your early 20s you're immortal, you're like Superman. We were sort of embodying its success with our mouths and our egos for sure. So I guess we were like, 'Yeah, we fucking deserve this' [laughs]. So as it was happening we were lapping it up. But did we expect it? Yeah, I think a part of us was thinking that we were the bee's knees. And I think if any band tells you that they don't want to be the biggest band in the world, then they're kind of lying.” /.../

Photocredit: Muinomede 

🔾However, it wasn’t the fairytale it should've been. As their popularity skyrocketed, a feeling of disassociation began to hang heavy over the band. “There was an overriding sense of loneliness, of isolation and the disconnection,” says Olsdal. “We were starting to realise that people didn't really see us human beings. We also realised that in order to do this well, we had to be away from any kind of stability. There were some sacrifices to be made and we weren't really that equipped to process emotions. There were a lot of days spent in the pub trying to make us feel better.


🔾“It felt like two very separate worlds. I remember walking around in Manhattan and the cover of WYIN was just plastered in shop windows and Tower Records, but I just felt this extreme disconnection with it. So it was like, 'Yeah, this it's happening, but I am so not there’. Because I was just this lost kid, it was just overwhelming.
So a lot of it I couldn't enjoy because I was just trying to deal with all this stuff – my own stuff – and it was just blowing up on the outside, being faced with microphones every day. Most days I just dreaded it, because I just did not know what I wanted to say to the world. The only place I was comfortable was making the music in this kind of womb-like situation that me and Brian created back in his council flat in London back in ’94."


🔾Ultimately, relief came from the support Olsdal and his bandmate Brian Molko were able to offer each other. “It was blowing up and I just remember telling myself 'Okay, Stef, you might not be appreciating this now and you might be going through some shit. But this is fucking amazing. Stick with it – this too shall pass’. And some days I was just thinking 'I don't want all this, I don't want all this!' you know? But I stuck with it, held on to Brian for dear life – kind of held on to each other for dear life. We weathered the storm, together.”


🔾“It was the madness of it all – which, like I said before, we devoured. We loved it. But at the same time, it was this mixed bag of how to remain sane this in the madness of it all, and at this point we really held onto each other. Hard. We had to remain true to our art and true to ourselves and sometimes that's hard. It's trying to figure out what your identity is and then having the strength to fight for it on a daily basis.”


🔾Their dedication to sticking up for their identity, no matter how ‘weird’ it might have seemed, or how difficult it was for them as people, cemented their devoted fanbase. “We were very vulnerable and honest in our lyrics and in the way we spoke about ourselves and what we felt was important – be true to yourself, try to stand up for who you are, even though you might get knocked down for it,” says Olsdal. “What happened was that Placebo concerts became like a congregation of outsiders, these cute misfits that just didn't know where else to go, and they came to a place where there was misfits on stage. Me and Brian grew up in our bedrooms, trying to learn our instruments and didn't really have any friends, so I guess that was the beauty of it.”

Photo credit: Franck CourtĂšs 

🔾Much as they love their fans, Olsdal recalls that too came with a darker side. “Surely enough, in the first couple of rows we'd start to get Brian Molko clones,” he laughs. “Imitation is the highest form of flattery. So, yeah, there was this kind of ‘cult’ that was starting to happen. With that came a lot of adoration – a lot of people who just found a friend in Placebo and a safe space to be themselves. But also at the same time, we started to get some slightly more obsessive fans. So with this whole price of validation also came the beginning of the isolation where we felt that we just could not live our ‘normal’ lives. Just to be who we are was getting more difficult. I think to this day is something that we're still struggling with. So it all came at a price – it was great, and I'm really thankful for it. But there are sacrifices to be made. I guess that was a sacrifice.”


🔾But the album also provided the band with countless happy moments; dozens of the kind of experience which might come to define your entire life, not just your career. Collaborating with David Bowie on a version of the album’s title track was one of them. “We had the amazing opportunity to be boosted by the legend that is David Bowie,” says Olsdal. “He phoned up about a month [after the album was released] and basically says that he'd fallen in love with one of the tracks. He said 'Either I cover this myself, or you let me come and sing on it’. And we were like 'Er, no, that's alright David, you can come and sing on our version, you don't have to do your own recording!' So in New York we got together with Tony Visconti, his longtime producer, and David and he got to sing his part on this track. We were just these wide-eyed fanboys drooling every time he approached.


🔾“It was just one of those surreal moments where I was just looking down to make sure my feet were on the ground. So there was this confirmation that what was happening and what we were doing was the right thing. Just the validation of, 'You're not shit!”


🔾Another of the album’s most curious stories comes from one of its stand-out hits – the clanging, confrontational opener Pure Morning. Originally recorded as part of the album’s b-side sessions, if the band had had their way, it never would’ve made the album at all. “I remember going into our label and playing them the b-sides that we just recorded,” Olsdal recalls. “We loved those b-side sessions because we could just go in and let our hair down, be experimental, bring out the toy instruments and the talking parrot and saxophone. We wrote Pure Morning in a day [during those sessions], thinking nothing of it.


🔾“Then we took it to the label and they just flipped over it and said 'This has to be on the album'. We're like 'No fucking way!' The album was five it a chance, it might just do something for you.' Then that became a bit of an albatross around our neck, because we didn't really think of it much on its artistic merit, but it's one of those things where songs have their own lives and you just have to let them free. It served us well, but it was just one of those flukes that then became an quite an important one for the band.


🔾“I look at it for its production values, and I listen to the lyrics and they make me chuckle. I think about the people who were around us at that time, and it's from a time and a place. It's just moronic the way it starts, out – it's such a simple song, but you can't knock it. Sometimes two chords is all you need.”


🔾After 20 years of reflection, Olsdal accepts the album as a document of a wonderful, if complicated, part of his life. “I can't really listen to it, I'll only hear the flaws,” he laughs. “But I think it gets easier with time to get some kind of perspective on what kind of impact, and what kind of role it had. It felt like the right time to [celebrate it] and give fans especially another chance to relive it, share memories and tell their stories.
🔾⭐🔾

Post by Marti