BRIAN MOLKO INTERVIEW – MONDO SONORO 2017

✨𝐻𝑒𝑙𝑙𝑜 𝑠𝑜𝑢𝑙𝑚𝑎𝑡𝑒𝑠!

Today I bring you the translation of a 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐's interview made by the Spanish independent musical magazine 𝑴𝒐𝒏𝒅𝒐𝑺𝒐𝒏𝒐𝒓𝒐 in 2017, just before the 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 concert in Madrid, Spain.
Did you remember that article where 𝑩𝒓𝒊𝒂𝒏 ranked 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 records from best to worst? Well, in this interview he talks about it, the secret of his long lasting friendship with 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, among many other things. I hope this reading will make your day more enjoyable.

♦️𝘽𝙧𝙞𝙖𝙣 𝙈𝙤𝙡𝙠𝙤 𝙄𝙣𝙩𝙚𝙧𝙫𝙞𝙚𝙬 2017 - 𝙈𝙤𝙣𝙙𝙤𝙎𝙤𝙣𝙤𝙧𝙤♦️

Brian Molko performing live at WiZink Center Madrid, Spain 04.29.2017 / indyrock.es.

On April 29, Placebo offered a concert of more than 130 minutes at the WiZink Center in Madrid. A couple of hours before it, vocalist Brian Molko received us exclusively in a room located in the bowels of the pavilion. We recover it now, just after passing through Spain for the XX anniversary tour and to headline the second edition of Mallorca Live, held this weekend Brian Molko enters the room and introduces himself while finishing his cigar. He is already fully prepared for the monumental concert that, before a full capacity and together with Stefan Olsdal and company, he will offer shortly thereafter. The artist wears his eyelids richly painted in a showy blue, and chooses one of the two chairs located in the room to sit down in a relaxed posture, just before we start shooting our questions along the ten minutes (finally turned into fifteen) that the musician offers to this publication in a rigorous exclusive. This is the result of that talk, in which, among other things, we discovered his heartfelt crusade against the use of new technologies...

𝐃𝐮𝐫𝐢𝐧𝐠 𝐭𝐡𝐢𝐬 𝐭𝐨𝐮𝐫, 𝐰𝐢𝐭𝐡 𝐰𝐡𝐢𝐜𝐡 𝐲𝐨𝐮 𝐜𝐨𝐦𝐦𝐞𝐦𝐨𝐫𝐚𝐭𝐞 𝐭𝐡𝐞 20𝐭𝐡 𝐚𝐧𝐧𝐢𝐯𝐞𝐫𝐬𝐚𝐫𝐲 𝐨𝐟 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐚𝐬 𝐚 𝐛𝐚𝐧𝐝, 𝐲𝐨𝐮 𝐚𝐫𝐞 𝐩𝐥𝐚𝐲𝐢𝐧𝐠 𝐚 𝐦𝐮𝐥𝐭𝐢𝐭𝐮𝐝𝐞 𝐨𝐟 𝐬𝐨𝐧𝐠𝐬 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮 𝐡𝐚𝐯𝐞𝐧'𝐭 𝐝𝐨𝐧𝐞 𝐥𝐢𝐯𝐞 𝐢𝐧 𝐚 𝐥𝐨𝐧𝐠 𝐭𝐢𝐦𝐞. 𝐈𝐬 𝐭𝐡𝐢𝐬 𝐭𝐨𝐮𝐫 𝐚 𝐜𝐥𝐞𝐚𝐫 𝐭𝐫𝐢𝐛𝐮𝐭𝐞 𝐭𝐨 𝐥𝐢𝐟𝐞𝐥𝐨𝐧𝐠 𝐟𝐚𝐧𝐬?
Yes, it is a gift. It is the first time that we do something for the fans 100 percent. We have tried to find a balance between feeling happy with ourselves and at the same time making the fans happy. When it comes time to choose the songs we play live, what we're doing on this tour is playing the songs that have had the best response from the live audience during the last twenty years.

𝐖𝐡𝐲 𝐝𝐢𝐝 𝐲𝐨𝐮 𝐝𝐞𝐜𝐢𝐝𝐞 𝐚𝐭 𝐭𝐡𝐞 𝐭𝐢𝐦𝐞, 𝐚𝐧𝐝 𝐮𝐧𝐭𝐢𝐥 𝐲𝐨𝐮 𝐫𝐞𝐜𝐨𝐯𝐞𝐫𝐞𝐝 𝐭𝐡𝐞𝐦 𝐢𝐧 𝐭𝐡𝐢𝐬 𝐭𝐨𝐮𝐫, 𝐭𝐨 𝐬𝐭𝐨𝐩 𝐩𝐥𝐚𝐲𝐢𝐧𝐠 𝐦𝐚𝐧𝐲 𝐨𝐟 𝐭𝐡𝐨𝐬𝐞 𝐬𝐨𝐧𝐠𝐬 𝐥𝐢𝐯𝐞?
Because we're bored with them... because we didn't like them anymore... because we no longer thought they were really good... For all those reasons... (laughs)

𝐀𝐧𝐝 𝐰𝐡𝐚𝐭 𝐝𝐨 𝐲𝐨𝐮 𝐟𝐞𝐞𝐥 𝐧𝐨𝐰 𝐰𝐡𝐞𝐧 𝐲𝐨𝐮 𝐩𝐥𝐚𝐲 𝐭𝐡𝐞𝐦?
Well, it is a lot less painful than I imagined it would be. Yes, yes, much less painful…

𝐃𝐢𝐝 𝐲𝐨𝐮 𝐭𝐡𝐢𝐧𝐤 𝐭𝐡𝐚𝐭 𝐦𝐚𝐲𝐛𝐞 𝐢𝐭 𝐰𝐨𝐮𝐥𝐝 𝐛𝐫𝐢𝐧𝐠 𝐲𝐨𝐮 𝐛𝐚𝐝 𝐦𝐞𝐦𝐨𝐫𝐢𝐞𝐬?
No! But what we feel is more related to the reaction of the public: that extreme pleasure that the public gets when listening to these songs. That's very satisfying, you feel very fulfilled when you see people so happy.

𝐀𝐧𝐝 𝐡𝐨𝐧𝐞𝐬𝐭𝐥𝐲... 𝐃𝐨 𝐲𝐨𝐮 𝐜𝐮𝐫𝐫𝐞𝐧𝐭𝐥𝐲 𝐞𝐧𝐣𝐨𝐲 𝐦𝐨𝐫𝐞 𝐩𝐥𝐚𝐲𝐢𝐧𝐠 𝐧𝐞𝐰 𝐬𝐨𝐧𝐠𝐬 𝐨𝐫 𝐭𝐡𝐨𝐬𝐞 𝐜𝐥𝐚𝐬𝐬𝐢𝐜𝐬 𝐰𝐞 𝐚𝐫𝐞 𝐭𝐚𝐥𝐤𝐢𝐧𝐠 𝐚𝐛𝐨𝐮𝐭? 𝐌𝐚𝐲𝐛𝐞 𝐲𝐨𝐮 𝐚𝐫𝐞 𝐛𝐨𝐫𝐞𝐝 𝐨𝐟 𝐩𝐥𝐚𝐲𝐢𝐧𝐠 𝐭𝐡𝐨𝐬𝐞 𝐡𝐢𝐭𝐬...
I always prefer to play new songs. But I am committed to doing this 20th anniversary tour, so I will, and I will do it well… giving 100% of what I have every time I go on stage.

𝐈 𝐰𝐚𝐬 𝐬𝐚𝐲𝐢𝐧𝐠 𝐢𝐭 𝐛𝐞𝐜𝐚𝐮𝐬𝐞, 𝐢𝐧 𝐚𝐧𝐲 𝐜𝐚𝐬𝐞, 𝐈 𝐭𝐡𝐢𝐧𝐤 𝐲𝐨𝐮 𝐚𝐫𝐞 𝐯𝐞𝐫𝐲 𝐩𝐫𝐨𝐮𝐝 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐥𝐚𝐭𝐞𝐬𝐭 𝐚𝐥𝐛𝐮𝐦 𝐭𝐨 𝐝𝐚𝐭𝐞 "𝐋𝐨𝐮𝐝 𝐋𝐢𝐤𝐞 𝐋𝐨𝐯𝐞" (𝐄𝐥𝐞𝐯𝐚𝐭𝐨𝐫, 13). 𝐈𝐬 𝐭𝐡𝐚𝐭 𝐬𝐨?
Yes I'm proud of it... but actually I'm proud of everyone, you know. But well, I think “Loud Like Love” was quite an achievement from the point of view of sound and in terms of what we achieved with it. If you think of music as a set of colors and how much color we can give to an album… then I think that's our most colorful album.

𝐏𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐥𝐲 𝐈 𝐭𝐡𝐢𝐧𝐤 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮𝐫 𝐜𝐨𝐧𝐜𝐞𝐫𝐭𝐬 𝐛𝐞𝐟𝐨𝐫𝐞 𝐰𝐞𝐫𝐞 𝐦𝐨𝐫𝐞 𝐯𝐢𝐬𝐜𝐞𝐫𝐚𝐥 𝐚𝐧𝐝 𝐩𝐮𝐧𝐤, 𝐰𝐡𝐢𝐥𝐞 𝐧𝐨𝐰 𝐭𝐡𝐞𝐲 𝐚𝐫𝐞 𝐦𝐨𝐫𝐞 𝐧𝐞𝐚𝐭 𝐚𝐧𝐝 𝐞𝐯𝐞𝐧 𝐞𝐥𝐞𝐠𝐚𝐧𝐭… 𝐇𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐭𝐡𝐢𝐧𝐤 𝐲𝐨𝐮 𝐡𝐚𝐯𝐞 𝐞𝐯𝐨𝐥𝐯𝐞𝐝 𝐨𝐧 𝐬𝐭𝐚𝐠𝐞 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐛𝐞𝐠𝐢𝐧𝐧𝐢𝐧𝐠 𝐮𝐧𝐭𝐢𝐥 𝐧𝐨𝐰?
I think we have improved as musicians.
As performers, and… I think we are much more adapted to the art of stage design. And we have also learned how to use the stage beyond being simply a place from which to give the concert, and that it reaches only one of the senses: the ear. Music is also a physical experience and we have been working a lot in that direction. Now we work very very hard on the visual aspect of the show.

Photo credit:  Sergei Savostyanov

𝐘𝐨𝐮 𝐚𝐫𝐞 𝐚𝐧 𝐚𝐛𝐬𝐨𝐥𝐮𝐭𝐞𝐥𝐲 𝐫𝐞𝐜𝐨𝐠𝐧𝐢𝐳𝐚𝐛𝐥𝐞 𝐚𝐧𝐝 𝐩𝐞𝐜𝐮𝐥𝐢𝐚𝐫 𝐬𝐢𝐧𝐠𝐞𝐫. 𝐇𝐨𝐰 𝐝𝐨 𝐲𝐨𝐮 𝐠𝐞𝐭 𝐭𝐡𝐚𝐭 𝐬𝐩𝐞𝐜𝐢𝐟𝐢𝐜𝐢𝐭𝐲?
Thank you… (laughs). I don't think about it, really, I don't. I think I would be a totally different person if I did. If I really believed in my own myth, how people describe me… I am much more interested in humility than fame.

𝐘𝐨𝐮 𝐡𝐚𝐯𝐞 𝐛𝐞𝐞𝐧 𝐰𝐨𝐫𝐤𝐢𝐧𝐠 𝐰𝐢𝐭𝐡 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥 𝐟𝐨𝐫 𝐦𝐚𝐧𝐲 𝐲𝐞𝐚𝐫𝐬 𝐧𝐨𝐰. 𝐖𝐡𝐚𝐭 𝐢𝐬 𝐭𝐡𝐞 𝐬𝐞𝐜𝐫𝐞𝐭 𝐬𝐨 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞 𝐮𝐧𝐢𝐨𝐧 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐲𝐨𝐮 𝐜𝐨𝐧𝐭𝐢𝐧𝐮𝐞𝐬 𝐭𝐨 𝐰𝐨𝐫𝐤? 𝐈𝐬 𝐡𝐞 𝐲𝐨𝐮𝐫 𝐩𝐞𝐫𝐟𝐞𝐜𝐭 𝐜𝐨𝐦𝐩𝐚𝐧𝐢𝐨𝐧?
Yes, I mean… I would like to think that we are a compositional pair comparable to some of the historical compositional pairs. Placebo wouldn't exist without the two of us. It is simply impossible. I think what is interesting between the two of us is that we are very different: he has studied music in schools, he can write music, he programs music on a computer, he knows how to use computer composition technology, and basically he can play any instrument he picks up, something that I can't do. Stefan offers what we could call an academic and technological aspect to the music, while mine is more based on the song, it's more instinctive and more emotional, so when you put those two sides together you have almost a perfect circle.

𝐈𝐧 𝐭𝐡𝐞 𝐩𝐚𝐬𝐭 𝐲𝐨𝐮 𝐡𝐚𝐯𝐞 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐦𝐚𝐧𝐲 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐚𝐫𝐭𝐢𝐬𝐭𝐬 𝐬𝐮𝐜𝐡 𝐚𝐬 𝐅𝐫𝐚𝐧𝐤 𝐁𝐥𝐚𝐜𝐤, 𝐃𝐚𝐯𝐢𝐝 𝐁𝐨𝐰𝐢𝐞 𝐨𝐫 𝐌𝐢𝐜𝐡𝐚𝐞𝐥 𝐒𝐭𝐢𝐩𝐞. 𝐖𝐡𝐨 𝐰𝐨𝐮𝐥𝐝 𝐲𝐨𝐮 𝐥𝐢𝐤𝐞 𝐭𝐨 𝐜𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐞 𝐰𝐢𝐭𝐡 𝐢𝐧 𝐭𝐡𝐞 𝐟𝐮𝐭𝐮𝐫𝐞?
Oh, hmmm… you mean other singers?

𝐘𝐞𝐬, 𝐈 𝐝𝐨𝐧'𝐭 𝐤𝐧𝐨𝐰 𝐞𝐱𝐚𝐜𝐭𝐥𝐲 𝐰𝐡𝐲 𝐛𝐮𝐭 𝐈 𝐰𝐚𝐬 𝐭𝐡𝐢𝐧𝐤𝐢𝐧𝐠, 𝐟𝐨𝐫 𝐞𝐱𝐚𝐦𝐩𝐥𝐞, 𝐨𝐟 𝐌𝐨𝐫𝐫𝐢𝐬𝐬𝐞𝐲... Nooooooo, not really… (𝘈𝘵 𝘵𝘩𝘢𝘵 𝘮𝘰𝘮𝘦𝘯𝘵 𝘉𝘳𝘪𝘢𝘯 𝘭𝘰𝘰𝘬𝘴 𝘢𝘵 𝘩𝘪𝘴 𝘵𝘰𝘶𝘳 𝘮𝘢𝘯𝘢𝘨𝘦𝘳 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺 𝘣𝘰𝘵𝘩 𝘭𝘦𝘵 𝘰𝘶𝘵 𝘢 𝘩𝘶𝘨𝘦 𝘤𝘩𝘶𝘤𝘬𝘭𝘦)… I would love to work with PJ Harvey, Björk… I like Grimes… it's amazing. Hummmmm… And electronic artists. I listen to a lot of electronic music so I would like to work with really good electronic experimental artists like Vitalic or Tycho. But I also listen to a lot of what people call 'classical-modern music'... people like Max Richter, Dustin O’Halloran or Ólafurd Arnalds… That would be very interesting to me.

𝐒𝐨𝐦𝐞𝐭𝐢𝐦𝐞𝐬, 𝐢𝐧 𝐭𝐡𝐞 90𝐬, 𝐲𝐨𝐮 𝐰𝐞𝐫𝐞 𝐚𝐬𝐬𝐨𝐜𝐢𝐚𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐁𝐫𝐢𝐭𝐩𝐨𝐩 𝐥𝐚𝐛𝐞𝐥, 𝐚𝐥𝐭𝐡𝐨𝐮𝐠𝐡 𝐨𝐛𝐯𝐢𝐨𝐮𝐬𝐥𝐲 𝐲𝐨𝐮 𝐝𝐢𝐝𝐧'𝐭 𝐡𝐚𝐯𝐞 𝐦𝐮𝐜𝐡 𝐭𝐨 𝐝𝐨 𝐰𝐢𝐭𝐡 𝐢𝐭...
Who did that? (𝘈𝘵 𝘵𝘩𝘢𝘵 𝘮𝘰𝘮𝘦𝘯𝘵 𝘉𝘳𝘪𝘢𝘯 𝘴𝘦𝘦𝘮𝘴 𝘴𝘭𝘪𝘨𝘩𝘵𝘭𝘺 𝘢𝘯𝘯𝘰𝘺𝘦𝘥)

𝐓𝐡𝐞 𝐁𝐫𝐢𝐭𝐢𝐬𝐡 𝐩𝐫𝐞𝐬𝐬 𝐢𝐧 𝐭𝐡𝐞 90𝐬 𝐮𝐬𝐞𝐝 𝐭𝐨 𝐝𝐨 𝐢𝐭, 𝐩𝐞𝐫𝐡𝐚𝐩𝐬 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐜𝐨𝐢𝐧𝐜𝐢𝐝𝐞𝐧𝐜𝐞 𝐢𝐧 𝐭𝐢𝐦𝐞 𝐰𝐢𝐭𝐡 𝐚𝐥𝐥 𝐭𝐡𝐨𝐬𝐞 𝐛𝐚𝐧𝐝𝐬...
I think you're wrong... (laughs)

𝐒𝐨, 𝐥𝐨𝐠𝐢𝐜𝐚𝐥𝐥𝐲, 𝐲𝐨𝐮 𝐝𝐨𝐧'𝐭 𝐥𝐢𝐤𝐞 𝐚𝐧𝐲𝐨𝐧𝐞 𝐬𝐚𝐲𝐢𝐧𝐠 𝐭𝐡𝐚𝐭 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐰𝐚𝐬 𝐚𝐭 𝐬𝐨𝐦𝐞 𝐩𝐨𝐢𝐧𝐭 𝐚 𝐛𝐚𝐧𝐝 𝐭𝐡𝐚𝐭 𝐡𝐚𝐝 𝐬𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐭𝐨 𝐝𝐨 𝐰𝐢𝐭𝐡 𝐁𝐫𝐢𝐭𝐩𝐨𝐩?
No, but also I don't like it when people say Placebo is a goth band... or any other label. I don't like being pigeonholed and put inside a box. I think we are a rock & roll band and that's it. I think that's what we are.

Photo credit: Bèranger Tillard 

𝐓𝐡𝐞 𝐦𝐮𝐬𝐢𝐜 𝐢𝐧𝐝𝐮𝐬𝐭𝐫𝐲 𝐡𝐚𝐬 𝐜𝐡𝐚𝐧𝐠𝐞𝐝 𝐚 𝐥𝐨𝐭 𝐬𝐢𝐧𝐜𝐞 𝐭𝐡𝐞 90𝐬. 𝐃𝐨 𝐲𝐨𝐮 𝐦𝐢𝐬𝐬 𝐬𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞𝐧?
Yeeeeeeees, of course I do. A lot of things… I mean, when we were preparing for the 20th anniversary tour we were watching videos of the old performances, and nobody had a mobile phone. Everyone… Everyone was jumping up and down, and people were flying over each other! Everyone was in the moment and enjoying. Now sometimes you are playing for an audience that has its face glued to an electronic device, which makes it very difficult to satisfy that audience with technology glued to its face, because there is an object blocking its own energy and preventing it from reaching you. Today, there is a fascination with documenting everything over experiencing it. It's the result of having let ourselves as a society be seduced by that technology, you know... And the problem is not the technology itself, but our attitude and the ease with which we allow ourselves to be seduced by it. It is easier to have a conversation with someone through technology than face to face, because it doesn't carry any vulnerability. And vulnerability involves a very important part of what it means to be a human being. So if we continue to exist without vulnerability, without truth, without physical contact, without physical exchange in the real world, I think we will become more disconnected and lonely beings within society. Since multinationals are telling the world that they create a better place to connect people and we believe their lie… It's really crap, they exist simply to earn a huge sum of money.

(𝘈𝘵 𝘵𝘩𝘢𝘵 𝘮𝘰𝘮𝘦𝘯𝘵 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥'𝘴 𝘵𝘰𝘶𝘳 𝘮𝘢𝘯𝘢𝘨𝘦𝘳 𝘸𝘢𝘳𝘯𝘴 𝘶𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘰𝘯𝘭𝘺 𝘵𝘸𝘰 𝘮𝘪𝘯𝘶𝘵𝘦𝘴 𝘭𝘦𝘧𝘵)

𝐀 𝐟𝐞𝐰 𝐦𝐨𝐧𝐭𝐡𝐬 𝐚𝐠𝐨 𝐈 𝐫𝐞𝐚𝐝 𝐢𝐧 𝐭𝐡𝐞 𝐍𝐌𝐄 𝐭𝐡𝐚𝐭 𝐲𝐨𝐮 𝐡𝐚𝐝 𝐜𝐚𝐭𝐚𝐥𝐨𝐠𝐞𝐝 𝐚𝐥𝐥 𝐨𝐟 𝐏𝐥𝐚𝐜𝐞𝐛𝐨'𝐬 𝐚𝐥𝐛𝐮𝐦𝐬 𝐟𝐫𝐨𝐦 𝐛𝐞𝐬𝐭 𝐭𝐨 𝐰𝐨𝐫𝐬𝐭, 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐟𝐢𝐫𝐬𝐭 𝐭𝐡𝐫𝐞𝐞 𝐚𝐥𝐛𝐮𝐦𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐛𝐚𝐧𝐝 𝐰𝐞𝐫𝐞 𝐢𝐧 𝐭𝐡𝐞 𝐥𝐚𝐬𝐭 𝐭𝐡𝐫𝐞𝐞 𝐩𝐨𝐬𝐢𝐭𝐢𝐨𝐧𝐬. 𝐎𝐛𝐯𝐢𝐨𝐮𝐬𝐥𝐲 𝐭𝐡𝐚𝐭 𝐬𝐮𝐫𝐩𝐫𝐢𝐬𝐞𝐝 𝐦𝐞. 𝐖𝐡𝐲 𝐭𝐡𝐚𝐭 𝐜𝐡𝐨𝐢𝐜𝐞?
Did I?? I don't remember doing it…

𝐘𝐞𝐬, 𝐈 𝐬𝐚𝐰 𝐢𝐭 𝐚 𝐟𝐞𝐰 𝐦𝐨𝐧𝐭𝐡𝐬 𝐚𝐠𝐨 𝐚𝐧𝐝 𝐭𝐡𝐢𝐬 𝐯𝐞𝐫𝐲 𝐦𝐨𝐫𝐧𝐢𝐧𝐠 𝐈 𝐥𝐨𝐨𝐤𝐞𝐝 𝐟𝐨𝐫 𝐢𝐭 𝐚𝐠𝐚𝐢𝐧 𝐚𝐧𝐝 𝐜𝐡𝐞𝐜𝐤𝐞𝐝 𝐢𝐭 𝐨𝐮𝐭…
Bah, I don't remember… so let's continue.

𝐎𝐤𝐚𝐲, 𝐬𝐨 𝐭𝐡𝐢𝐬 𝐢𝐬 𝐭𝐡𝐞 𝐥𝐚𝐬𝐭 𝐪𝐮𝐞𝐬𝐭𝐢𝐨𝐧… 𝐀𝐫𝐞 𝐲𝐨𝐮 𝐰𝐨𝐫𝐤𝐢𝐧𝐠 𝐨𝐧 𝐧𝐞𝐰 𝐬𝐨𝐧𝐠𝐬? 𝐖𝐡𝐞𝐧 𝐰𝐢𝐥𝐥 𝐰𝐞 𝐡𝐚𝐯𝐞 𝐧𝐞𝐰 𝐬𝐨𝐧𝐠𝐬 𝐟𝐫𝐨𝐦 𝐏𝐥𝐚𝐜𝐞𝐛𝐨? 𝐖𝐡𝐚𝐭 𝐬𝐡𝐨𝐮𝐥𝐝 𝐰𝐞 𝐞𝐱𝐩𝐞𝐜𝐭 𝐟𝐫𝐨𝐦 𝐲𝐨𝐮 𝐢𝐧 𝐭𝐡𝐞 𝐟𝐮𝐭𝐮𝐫𝐞?
Currently I have no idea. I am very much into what we're doing right now. Everything now revolves around this 20th anniversary tour. It's all we are doing now. But of course we have some ideas... They are almost skeletons or embryos. It is just an idea of ​​what we want to do in the future, but not a reality right now, because we are very busy.

𝐖𝐞 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐰𝐚𝐢𝐭𝐢𝐧𝐠 𝐭𝐡𝐞𝐧, 𝐭𝐡𝐚𝐧𝐤 𝐲𝐨𝐮 𝐯𝐞𝐫𝐲 𝐦𝐮𝐜𝐡. 𝐈𝐭 𝐡𝐚𝐬 𝐛𝐞𝐞𝐧 𝐚 𝐩𝐥𝐞𝐚𝐬𝐮𝐫𝐞. 𝐒𝐞𝐞 𝐲𝐨𝐮 𝐢𝐧 𝐚 𝐰𝐡𝐢𝐥𝐞 𝐨𝐧 𝐭𝐡𝐞 𝐬𝐭𝐚𝐠𝐞...
You're welcome. Cool, I see you in the audience…

✧･ﾟ: ✧･ﾟ: » ✩ « :･ﾟ✧:･ﾟ✧

𝑶𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝑻𝒆𝒙𝒕: Raúl Julián, 15.05.2017
mondosonoro.com
𝑻𝒓𝒂𝒏𝒔𝒍𝒂𝒕𝒊𝒐𝒏 𝒕𝒐 𝑬𝒏𝒈𝒍𝒊𝒔𝒉: Rita Molko de L. for Placebo Anyway.

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