Double Je - Interview with Brian Molko - France 2003 -

This is an interview of Brian by Bernard Pivot in the French tv show « Double Je » which can be translated as “Double Me” but phonetically you can also understand “Double-Dealing” (“Double Jeu”)(isn’t it perfect for Brian??!!).

Bernard Pivot was used to interview some authors and philosophers but from January 2002 to December 2005, he decided to interview strangers who embraced the French culture. In those circumstances he interviewed Brian.

Here we are, back in 2003!

Bernard Pivot: If someone had told me I would be interviewing the singer and guitarist of the band Placebo, I wouldn’t have believed it, and neither would you! Well, I did it! In Bordeaux[South of France], the day of their last gig of their French tour. Brian Molko, that’s his name, and by just saying his name I can hear the cries of love and enthusiasm of his public, Brian Molko is probably the only Anglo American rock singer to speak French. Here is Brian Molko.

“””Bernard Pivot (to fans!): 8 hours waiting for just 1h30 of the show, do you think it’s worth it?

fans: yes yesyesyesyes !!!!!!!

A young man: You have to feel moved when you hear him singing in French.

A girl: his personality, the music… Everything!!””””

Brian: Well, I live in England, and English people always make fun on Scottish’s mouth!! I do not feel neither American nor British, but if you force me to find patriotism, I would say I’m Scottish, yeah!

Bernard Pivot: While the war in Iraq, wouldn’t have you preferred to be Belgian, Luxembourger or French, rather than …?

Brian:When I saw the pictures of how they moved the prisoners, who were allegedly terrorist (Taliban in America) from Afghanistan to Guantanamo Bay, This Concentration camp. I was disgusted, really, really disgusted then I started to think about  giving away my American passport. And this “thing” with Iraq happened. I was against war in Iraq! So I told myself: “If you return your passport, then you’re losing your voice, you’ll not be allowed to say anything.” If this passport means that it is still my country, even if I’ve never lived there, I’m still allowed to say things against the American government.

Bernard Pivot : But when you’re travelling, when you’re going through customs, aren’t you tempted to give your new album rather than your passport?

Brian: [he laughs]Oh, just as Oscar Wilde when he went to the U.S, he was asked “Do you have anything to declare?” and he answered “I have nothing to declare except my genius!” That’s it? Yes? Hum… It’s easier for me when we’re going to the U.S., because I give my American passport, so I go through directly, while the others spend almost one hour in customs!!

Bernard Pivot: Imean, your real passport is your music!

Brian: Yes that’s true!

Bernard Pivot: So is it possible for rock and roll to be Pakistani, Russian, Japanese? A rock which would not use the English language?

Brian: Yes, it does exist! But it does not sell, unfortunately. Not as much as English speaking music.

Bernard Pivot: Have you been tempted to write rock songs in French?

Brian: My French writing is not so great. Even at school it wasn’t great. Reading is ok. But for me it’s not natural to write in French, so…

Bernard Pivot: Yes, but imagine…

Brian: We’ve done translations. We had one called “Burger Queen” that we have translated into French. These days we’re working on a French version of one song of the album [Protègemoi] and if it works, we’ll make a single out of it.

Bernard Pivot: But this contestation. It becomes industry, money…

Brian: Yes, that’s a pity it becomes industry, trades, money… more and more and more… And that’s when accountants start to become the record companies’ directors!

Bernard Pivot: Isn’t Placebo, by its own, part of the incredible American growth, by means of language, music and money?

Brian: We are successful in England. We’re a cult group in the U.S., but it’s really in Europe where we are huge. And that’s interesting. It is in countries like France, Germany, and the Mediterranean countries that we are most successful.

Bernard Pivot: Oh, you are deviating a bit!!

Brian: That’s because you’re asking some deep questions!

Bernard Pivot: I suppose English is your mother tongue. You lived in Luxemburg during the most important part of your childhood I think…

Brian: Yes, yes. Since I was 3 until I was 17 years old. And then I moved to London.

Bernard Pivot: So Did you learn French in high school?

Brian: I started to learn French at 6. Of course I grew up with the French tv, I grew up with your tv show, with Apostrophes (literary French tv show presented by Bernard Pivot from 1975 to 1990), with “Les enfants du Rock” (it could be translated “Kids of Rock”, French tv show from 1982 to 1988). But also the French cinema, the Belgian tv, the French tv, I didn’t watch German tv so much because I studied French at school so I didn’t understand German. And what’s interesting in Luxemburg is that the Luxembourgish language was still a dialect until 1981! Then it became the official language. Before that the official languages used to be French and German. And that’s what we were learning at school. You used to learn Luxembourgish languagein the street! But now they teach the 3 of them.

Bernard Pivot: How many languages did your parents speak?

Brian: My father spoke French. In fact, he still speaks French, English, Italian and Arabic.

Bernard Pivot: Arabic?

Brian: Yes, becausehe was born in Egypt, and as a financier he made a lot of business with…

Bernard Pivot: He also spoke another international language: the money language.

Brian: Yes, but I think as soon as I became a teenager, it was made really clear that I would not follow his footsteps!

Bernard Pivot: In your first album, you speak about your teenage rebellions. Against whom or against what was it?

Brian: Probably against my family, against religion, because my childhood was pretty religious…

Bernard Pivot: Conformism?

Brian: Homophobia. Well, I wrote this album while I was unemployed, in London, after university. It was also born from depression. It was an exorcism.

Bernard Pivot: the rebellious young man you used to be at 15 or 16 years old, you must have been unbearable!

Brian: I was so erratic. And yes, I had a lot of energy. I was such “cassecul” [he wants to say he was a ball breaker! But in French you don’t say “cassecul “(breaking ass” ) but “cassecouilles” (ball breaker)]

Bernard Pivot: Cassecul??We say In French …

Brian: Cassecouilles!!

Bernard Pivot: You already were in a fragile state and you didn’t have a lot of money.

Brian: When I was in university, I worked for a month during the summer. I did “shredding”. I took the documents and put them into the shredder! After 2 days in, I was wandering - what can I put into the shredder today? Because yesterday I put some plastic…- This was not a good experience at all for me. It disgusted me so much that I masturbated the entire time. I would lock myself in the toilets saying, “really, really, I hate this!!!!”.

Bernard Pivot: Your sexuality, since you’re talking about it, is a double-deal, because you are bisexual.

Brian: The best of the 2 worlds I’d say!

Bernard Pivot: Do you know what Woody Allen said? “The one who has the biggest chances to go home with someone on Saturday night is a bisexual!”

Brian: I didn’t know that one!! My favorite is “The 2 things you can control in life are art and masturbation, 2 topics on which I’m an expert!”

Bernard Pivot: Why did you named the band Placebo?

Brian: Hum… We haven’t really thought about it! It’s been much more the sound of it! I think it’s important to have a name that 40.000 people can shout out altogether! PLA-CE-BO ! PLA-CE-BO ! It works!

Bernard Pivot: but a placebo is a pill which is unnecessary, which is neutral.  And your music, your lyrics are about anything but neutrality and indifference …

Brian: In fact, when you search for a band name, you’re searching for a genius name! And you almost never find it! So when you have tried several names you think about which one is the best and this one remained. But then we started to think about it, when people started asking questions like this one, we thought about the deceptive side, medical side. But when we were 20, it just sounded good to the ear.

Bernard Pivot: it was just music?

Brian: Yes it’s a musical word!

Bernard Pivot: And that’s it?

Brian: Yes. And it became something else by making interviews!!

Bernard Pivot: Do you consider yourself a committed composer- author?

Brian: Yes, more and more, yes!!

Bernard Pivot: And will you be even more in the future?

Brian: I hope so, yes!

Bernard Pivot: Does it mean you want to change the world? A little bit… You want to influence the world a bit?

Brian: I don’t think music can change the world but if we can change some ideas in one person or more.  We contribute to…   
            

Bernard Pivot: But changing 2 or 3 people’s minds or ideas it is actually to change the world a bit.

Brian: Yes, it’s the beginning. And we hope they will communicate with other people, that there will be an exchange of ideas after our gigs. And maybe their minds will change too.

Bernard Pivot: Aren’t you disappointed, as other artists are, not only singers but authors, intellectuals, who want to change the world and then realize the world is changing but not the way they wanted?

Brian: I feel we’re like dinosaurs. Earth will be here after us! Particularly if we continue to use our world as a big trash can. Mother Nature is not going to accept that for long! We’ll just be dinosaurs. And the World will keep on turning without us, without humans. Because in our unbelievable arrogance, we’re unable to think there’s life on another planet! It’s so arrogant! Of course there’s life on other planets! “It’s life Jim, but not as we know it!”

Bernard Pivot: And do you think one day we’ll listen to Placebo on another planet? And by people who will not be human?

Brian: Yes, why not? Yes, there must be other civilizations watching us. Seeing this primitive planet, they’re laughing at us! “Look at the humans, what a bunch of assholes!” and “Moreover, listen to this crap music they play!! Placebo? What’s that??!!”

Bernard Pivot: Is there any difference between the French audience and the English audience?

Brian: Oh yes, a big difference.

Bernard Pivot: Which one?

Brian: Well, the emotion, passion.  The English audience is shyer than the French one. But from the beginning, there have always been a love story between us and the French audience. I think there is romanticism in what we do, not a sentimental romanticism, which comes from traditions, it comes from people like Baudelaire for example. And you’ve got this literary tradition, here in France that English people do not really have. You’ve got Verlaine, Rimbaud, Baudelaire, The surrealists; you’ve had Sartre and Camus, people like that! The English have Oscar Wilde anyway but it’s not quite the same!

Bernard Pivot: Do you mean the French audience is more romantic, more emotional?

Brian: They are different, probably more relaxed, and they have a different sensibility.

Bernard Pivot: Thank you Brian!

Brian: Thank you Bernard! It was great!

Bernard Pivot: We’ll be glad to see Brian Molko again in September for an exceptional gig in Paris Bercy.

Credits: Pinterest; PlaceboGalleryNet, PlaceboFansWorldWide, James Sharrock

A Special Thank You to: Bénédicte Convert for the translation into English and to Diana E.T.F. for her helping hand. Design and documantation SusanneCk

I don't have thousand friends - Interview with Brian Molko -

PLACEBO – I DON’T HAVE THOUSAND FRIENDS - Interview with Brian Molko -

Magazine: Rock & Pop Czech Republic

Issue: November 2013

Text: Thomas Clausen, Translation into Czech: Michal Bystrov, Translation into English: Luss (Forbidden Snowflake)

The group around striking front man Brian Molko wasn’t originally planning on making the new record, but here it is. It’s called Loud Like Love and it’s said to be so honest that it almost hurts. Relatively suitable characteristic – listening to Placebo has always been a little bit painful. But beautifully painful... Our German colleague was talking to Molko in Soho Houser Hotel in Berlin.

You released the previous album Battle for the Sun four years ago, after that you had been touring for two years. Had you been looking forward to the end of the tour, so that you wouldn’t see each other for a while?

After such a long time you need to have a rest from one another, it’s a necessity. Moreover, when a person is on a road with a band for two years, he starts to get sick of his own music. The ears need to take a break from it. Basically, you need to keep your distance so that you can shake off all those previous years and clear up your mind for the new impulses and sounds.

Painfully honest novelty

Is it any hard to come up with a new music? After all, you have been on the scene for almost twenty years now.

It’s getting harder with every record. With each record you need to come up with something what will also surprise yourself. You also cannot turn your back to what is making you who you are. I think that we needed the time to get ourselves back to normal. Again, we wanted to experience something new and look around on what other bands are playing now. We needed to get out of the bubble. The good thing about recording is that every night you get back home and you also have free weekends. It almost looks like a normal life...

You need to wash up after yourself, no-one’s making the bed for you...

Exactly! It’s an amazing therapy. On the tour, they take care of you completely. It sounds strangely, but one may get insane from that. You start to feel like you want to cook for yourself or do the laundry by yourself. It’s really needed to get your feet back on the ground otherwise you stop to be creative!

Judging by your latest album Loud Like Love, it doesn’t seem like you have nothing to write about.

No, definitely not. I admit that this record came to existence a little bit strangely. There were times when we had been saying that we were not going to ever finish it. The road to it was very rough. Firstly, we wanted to put together few novelties for our „best-of“ album. But later on we stopped to care about it. Then the tour came and we were thinking about recording EP but it turned into the whole new album. It all happened by a chance. Originally we went to the studio just to record a single, but after a while we realised that it’s probably going to be an album. This all was back in 2012. We started with writing and composing, and we were recording it and until the end of the year we finished half of the album. According to the fact that we hadn’t planned it in advance and hadn’t made any time reservations, we had to let it go at a time we had left for the tour. We got back to the recording earlier this year. We had written other pieces and we had gone to the studio and then we mixed it. All that time we lived in doubts how it would turn out to be. But it was worth it.

It seems to me that the second half of the album – especially A Million Little Pieces, Exit Wounds or Begin the End – is visibly much darker than the first one. Is the way how the album was recorded responsible for this?

Definitely. Songs on the first half of the album are shorter and more energetic. Then the songs are getting longer, the darker emotions and the sadness are added. Songs are arranged in an exact order in which they were written and recorded. It’s like you had been there while we were creating them.

How would you, yourself, describe this record?

It seems to me that it’s painfully honest. We took a risk with that as well as with the main theme [note: love] of the album, which is actually the emptiest theme in the world’s pop music history or in the whole pop culture. But for Placebo it is very unconventional theme. We loved the idea that we would again confuse those who have had some expectations from us. As a band we like to play with our identity. It came to us very funny to do the exact opposite of what is expected from us - to do something what would confuse people. With every song we are walking on more and more slanted floor.

What is driving you to do this?

Personally, I feel less tied to what we mean for some people. With this record I – in a way – freed myself. Now we can write about anything and we can try any music genre until it will sound like Placebo in the end. Thinking in this creative way is a huge relief. One has to cross the lines of the secure zone to find new ideas. If I was relying on the old trick, it all would have had lost its point. We wouldn’t progress, we would only be passé.

Just try it

Is it possible to say that Placebo is more up-to-date with Loud Like Love?

For one hundred percents. Especially me, I see the reason in my enthusiasm for Eastern culture. For Buddhism, for meditations, or for the written work of German philosopher and spiritual person Eckhart Tolle, who wrote an amazing book called The Power of Now. Also, nowadays I live an incomparably healthier life than I did in my times. We were talking about it last night on our way from the restaurant. And we said that in last 10 years we had partied more than some people will ever do in their entire lives.

When you start recording, are you considering all the pros and cons?

I think that it’s clever to do that. Otherwise you may start to repeat yourself. You realise, that as soon as the record is done you are supposed to star touring the world and night by night you’re playing it live. You need to have some kind of relationship with the songs so that you can pass the emotions to the audience. It requires a lot of self-confidence and when you don’t consider every aspect before you do that, then it’s like you’re trying to find a right way into a tunnel. Whatever you do may destroy you artistically when you don’t ask yourself about the meaning.  You’re telling yourself for example „We are good at this, but we’re not going to do that.“ But why? We can at least try that? There may not be any point in doing that, but isn’t this the real meaning?  Finding out where these roads are going to take us? I think that this is the way to do it.

You are using a lot of electronic technology, but also traditional indie instruments. You have built up your specific genre on the alternative rock scene.

We refuse to admit that we are playing „guitar music with bass and drums, and that from time to time we add a piano for the fun“. This is not the way we do our music anymore. Maybe before those twenty years ago we did... But from those times we’re always trying to find new musical instruments that we can use. Obviously, this record appealed to us from time when we arrived into the studio from the 70’s where they had the original mixing panel. And then there were us with our iPads. It completely suits our position – we must surprise each other in order not to get bored.

Happily sad song-writing

While talking about iPads and modern technologies in general; the single Too Many Friends is making fun of all that.

We’re not taking ourselves too seriously as one may imagine. That song contains humour but it also is very sad and desperate. Kind of bittersweet. I’ve found out that melancholic music was appealing to me since I was a kid. That kind of music, that can drive you to tears but at the same time you’re happy that you’re alive and that you can feel all those things. I happened to become a bittersweet song-writer. That is my realm.

Under what circumstances had the song Too Many Friends been made?

I don’t remember what I was googling but one day my computer started to attack me with links as I was some kind of a very active member of a community of gays, fetishists or what else. „Wow, my computer thinks I’m gay!“ I was thinking. And immediately I thought that it could be an awesome slogan for Placebo. Our relationships with technology have come to a very personal level... That exact week, few of my friends – to sort it out, not I, for me the social networks are still an unknown – were trying to refuse the ‚friend requests‘ of people who were trying to be the friends with them on the Internet. Simply they have had too many of them already. And I asked „How can you have that many friends?“ And I had started to count how many friends do I have. I mean the real friends, and I can say that there wasn’t any number close to 500 or 1000. It had driven me to the thoughts of what a friendship really means these days and how much the perception of the interpersonal relationships has changed. This song is about alienation, false promises that are carried through the social networks. It is responsible for solidarity but also for the new form of loneliness.

A special Thank You with a big hug to Luss Forbidden Snowflake l Desing SusanneCk

Credits Photos: Placeborussia., tmblr & Pinterest

Placebo's PV Fan Q&A - Part Two

Los fans de Placebo enviaron sus preguntas a Brian Molko, a Stefan Olsdal y a Steve Forrest. La banda escogió sus favoritos para responder. Aquí tenéis la segunda parte de sus respuestas.

Placebo fans were asked for questions to Brian Molko, Stefan Olsdal and Steve Forrest. The band handpicked some of their favorites to answer. Here you have part two.

Watch part II.  On the page of PV/YT

La primera parte/The first part: Click here

Credits: Photo, Placeboworld

Brian Molko - Radio Vinyle #11 - Entrevista por Laura Leishman

  

Brian Molko - Radio Vinyle #11 - Entrevista por  Laura Leishman / 21.06.2012

La entrevista es en Radio France, Brian está viendo su gran colección de discos y escogiendo sus favoritos. La entrevistadora es Laura Leishman.

Brian: 2 minutos ¡por favooor! Tengo que detenerme.

Laura Leishman: Si, es hora, tenemos que terminar.

Brian:  ¿Qué?  ¡Mira esto! Es increíble que haya encontrado esto. Yo sabía que Parliament tenía este álbum “Parliament vs the Placebo syndrome”. No puedo creer que lo haya encontrado, nunca lo he escuchado.

Laura: Oh Dios, tienes que escoger ese.

Brian: La banda va a practicar sin mí esta tarde.

An immersion in the Radio France Vinyl Collection…

Brian: Hay tantos álbumes aquí que son tan importantes…

¿Qué? Esta es una de mis películas favoritas, estoy obsesionado con una de sus canciones “Old Souls”

Laura: Bueno, podemos escucharlo.

Brian: ¡Sí! Es de Brian De Palma, está basada en el Fantasma de la Ópera, la leyenda de Fausto, es básicamente la estrella de rock que vende su alma al diablo para conseguir el éxito.

Mi hermano, mi hermano mayor, fue quién me enseñó a usar los álbumes como este  ya que él tuvo el tocadiscos antes que yo. Lo que me gusta particularmente del álbum es la dimensión, es como un fetiche para mí.

Creo que la forma en la que se coloca el disco físicamente es muy importante para mí.

Laura: entonces escuchémoslo.

Brian: Si.

[suena Old Souls de Jessica Harper  … y Brian sonrie!

Brian: Sí, me lleva a mi pasado, a mi infancia, cuando era niño tenía una obsesión: la música psicodélica.

“ThegratefulDead”escuchemos una pequeña canción.

[canta mientras suena St Stephen deThe Grateful Dead].

Laura: ¿Cuántos años tenías cuando escuchabas esta música?

Brian: Como 16, eso fue cuando descubrí la marihuana.

Laura:¡Ok!

Brian: Lo psicodélico fue el punto central de mi rebelión.

La idea era encontrar una manera de pensamiento que fuera liberador de la mente, una libertad creativa, vivir sin reglas… Ser un anarquista hedonístico, algo así.

Laura: Pero es algo que todavía sientes.

Brian: Si, todavía, de hecho me trajo muchos problemas en la vida, pero todos tenemos que crecer en algún punto.

Laura: Tal vez es culpa de The Grateful Death.

Brian: Ellos formaron parte de un movimiento psicodélico europeo. Esas bandas precedieron a Kraftwerky la música electrónica. Can es algo así como una “psicodelia funky” . Eran alemanes parte del *“Krautrock” Lo escuché por primera vez en Londres cuando estaba en la universidad, y me sorprendió porque era tan extraño.

Un amigo tenía una colección de discos impresionante y vivíamos en la misma residencia universitaria.

Veamos para los alemanes es casi “funky”.

[suena Vitamin C de Can]

Comencé a descubrir todo un mundo de posibilidades. La idea de algunos “colores, sonidos” que no combinan pero que son fascinantes. Y pienso que todavía trato de encontrar eso en la música moderna pero cada vez me desilusiono más.

No podemos dejar la música psicodélica sin tocar esta canción de Parliament.

Laura: Un gran descubrimiento.

Brian: Sí, un gran descubrimiento, porque cuando buscas Placebo en ITunes siempre te sale, claro mi banda, y también éste álbum de Parliament que siempre adoré, me refiero a la banda porque nunca he escuchado éste disco. “Parliament vs the Placebo Syndrome.”

Laura: Es el destino. Lo has encontrado dentro de miles de discos…

Brian: Si en el último minuto esperemos que sea “funky”.

[suena Placebo Syndromede Parliament]

Brian: De hecho, el funk es como una almohada. Cuando escuchas esta música te sientes en el medio de almohadas funky, no sé por qué, es increíble.

Dejemos lo psicodélico y escuchemos algo más moderno. Un poco de post punk  IggyPop . Creo que es un puente entre el punk rock psicodélico y la música post punk, que realmente ha influenciado tanto a mi banda como a mí.

Este es un clásico, muy loco, “Search and Destroy”.

Laura: Bien.

Brian:Escuchémoslo.

[suenaSearch and Destroy de Iggy and the Stooges ambos la cantan]

Brian: ¡Escucha eso!

Iggy… I’musingtechnology…

Laura: En la canción me dijiste: “escucha esto”  mientras Iggy dice “I’musingtechnology”  ¿ Por qué es esa frase importante para ti?

Brian: Porque es tan antigua, 1973, cuando piensas en la manera en que la tecnología maneja nuestras vidas ahora, la visión que tuvo Iggy de estar bajo esa sombra, ¡es Wao!

Laura: ¿Cómo te sientes al pensar que tú escuchabas esta música cuando eras joven?  Estabas aprendiendo y soñando con ser músico y ahora eres parte de esa historia. ¿Te das cuenta de eso?

Brian: No realmente, No me puedo comparar con la historia legendaria del Rock and Roll , tal vez se deba a la cultura moderna de la celebridad para mí la hace menos importante. Ellos tuvieron que crear música progresista y trabajar tanto para que la gente los escuchara. Ahora no es igual. Tal vez me siento un poco como una víctima de mi generación.

Para mí hemos pasado por el punk, y luego nos encontramos en EEUU con el post punk, la música new wave, cuando el punk comenzó a ser de la vieja escuela, un poco más experimental. Cambió la manera en la que escuchamos las guitarras. “Pere Ubu” una banda muy extraña.

[suena The Modern Dance de Pere Ubu]

Brian: ¿Qué?

Laura: Ahí está el lado experimental del que hablabas

Brian: ¿Qué está sucediendo?

Laura: ¿Qué está pasando?

Brian:  La maravilla de los discos,  que empezó a desaparecer para dar paso a los cds, es que puedes tener la caratula en tus manos mientras lo escuchas y ver todo los detalles. La puedes ver, tocar, y crear toda una historia con los detalles de la caratula. Me entró algo de nostalgia.

Laura: te iba a decir que estabas algo nostálgico.

Brian: cuando tenía 16 y escuché a Sonic Youth por primera vez , todo cambió para mí. Porque antes de Sonic Youth las guitarras eran sólo guitarras, y esto era un mundo aparte, algo completamente diferente. Yo diría que ha sido nuestra mayor influencia, especialmente en el comienzo. ¡Oh waow esto no pasa en un mp3!

Aquí puedes escuchar como Sonic Youth cambió por completo el estilo de las guitarras, las ponen de cabeza.

[suena Titanium Exposé de Sonic Youth]

Brian: Creo que es la mayor influencia en nuestro sonido. Ellos son la banda que queríamos ser pero no fuimos.

Como última canción voy a escoger una de Nina Simone porque siempre le he dicho a mi familia y amigos que esta canción es con la que más me puedo identificar. El coro… básicamente me describe, soy yo.  “I’mjust a soulwhoseintentions are good, oh lord, pleasedon’tlet me be misunderstood” (sólo soy un alma con buenas intenciones, por favor Señor, no me dejes ser incomprendida) Quisiera que esta canción sonara en mi funeral.

[suena Don’t let me be misunderstood de Nina Simone  y  Brian está cantando y sonriendo :D]

*Krautrock es un género musical alemán que se originó en los 60 y cuyo nombre  se popularizó debido a la prensa inglesa, abarca música rock, electrónica y más experimental.

Credits, Info: Fotos (Gisela William Molko) & Pinterest & Brian Molko Vinyl Pinterest, Información detallada con detalles técnicos en Radio Vinyle Website

A special Thank You to:  Diana E.T.F. por las traducción al español y por toda la ayuda técnica. Mil gracias!!