"𝑰 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒆 𝒐𝒗𝒆𝒓𝒂𝒍𝒍 𝒔𝒐𝒖𝒏𝒅 𝒐𝒇 𝒐𝒖𝒓 𝒃𝒂𝒏𝒅 𝒊𝒔 𝒓𝒆𝒂𝒍𝒍𝒚 𝒖𝒏𝒖𝒔𝒖𝒂𝒍."

🔸🔸𝑇𝑜𝑑𝑎𝑦, 𝑙𝑒𝑡'𝑠 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑎𝑛 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝐵𝑟𝑖𝑎𝑛 𝑔𝑎𝑣𝑒 𝑡𝑜 𝐺𝑢𝑖𝑡𝑎𝑟𝑒 𝑀𝑎𝑔𝑎𝑧𝑖𝑛𝑒 𝑖𝑛 𝑀𝑎𝑟𝑐ℎ 2001, 𝑤ℎ𝑒𝑟𝑒 ℎ𝑒 𝑠ℎ𝑎𝑟𝑒𝑠 𝑎 𝑏𝑖𝑡 𝑜𝑓 𝑃𝑙𝑎𝑐𝑒𝑏𝑜'𝑠 𝑠𝑒𝑐𝑟𝑒𝑡𝑠 𝑖𝑛 𝑠𝑜𝑛𝑔𝑤𝑟𝑖𝑡𝑖𝑛𝑔. 𝐴 𝑏𝑖𝑡 𝑜𝑓 𝑖𝑛𝑠𝑡𝑖𝑛𝑐𝑡, 𝑎 𝑏𝑖𝑡 𝑜𝑓 𝑡𝑒𝑐ℎ𝑛𝑖𝑐𝑎𝑙 𝑠𝑘𝑖𝑙𝑙𝑠 𝑎𝑛𝑑 𝑎𝑐𝑐𝑢𝑟𝑎𝑡𝑒 𝑒𝑞𝑢𝑖𝑝𝑚𝑒𝑛𝑡 𝑜𝑓 𝑐𝑜𝑢𝑟𝑠𝑒. 🔸🔸

Photo credit: Anja, Wall Backstage, 2000

🔸 𝙈𝙤𝙨𝙩 𝙤𝙛 𝙮𝙤𝙪𝙧 𝙨𝙤𝙣𝙜𝙨 𝙖𝙧𝙚 𝙬𝙧𝙞𝙩𝙩𝙚𝙣 𝙞𝙣 𝙖 𝘽 𝙠𝙚𝙮, 𝙬𝙝𝙞𝙘𝙝 𝙞𝙨 𝙣𝙤𝙩 𝙘𝙤𝙢𝙢𝙤𝙣 𝙛𝙤𝙧 𝙖 𝙧𝙤𝙘𝙠 𝙗𝙖𝙣𝙙...
𝑩𝒓𝒊𝒂𝒏: Stefan, our bassist/guitarist, often tells me that I'm probably the least technically minded guitarist in the world. I can't tell what keys we play in. Actually, I don't need to know, I just play songs. My general approach to music is rather instinctive.

🔸 𝗕𝘆 𝘁𝗵𝗲 𝘄𝗮𝘆, 𝘄𝗵𝗲𝗻 𝘁𝗿𝘆𝗶𝗻𝗴 𝘁𝗼 𝗰𝗼𝘃𝗲𝗿 𝘆𝗼𝘂𝗿 𝘀𝗼𝗻𝗴𝘀, 𝘄𝗲 𝗾𝘂𝗶𝗰𝗸𝗹𝘆 𝗿𝗲𝗮𝗹𝗶𝘇𝗲 𝘁𝗵𝗮𝘁 𝘁𝗵𝗲𝘆 𝗮𝗿𝗲 𝗶𝗺𝗽𝗼𝘀𝘀𝗶𝗯𝗹𝗲 𝘁𝗼 𝗽𝗹𝗮𝘆 𝗶𝗻 𝘀𝘁𝗮𝗻𝗱𝗮𝗿𝗱 𝘁𝘂𝗻𝗶𝗻𝗴.
𝑩𝒓𝒊𝒂𝒏: We have our own little "secrets", our "tricks" that are part of the ingredients of our sound. All I can say is that we play a semitone or a tone higher than the standard tuning.On Taste In Men, the six-strings were tuned in unison, because we were looking for a very special colour.

🔸 𝗔 𝗯𝗶𝘁 𝗹𝗶𝗸𝗲 𝗦𝗼𝗻𝗶𝗰 𝗬𝗼𝘂𝘁𝗵?
𝑩𝒓𝒊𝒂𝒏: Placebo's music comes directly from that, from that American alternative rock. Sonic Youth is by far the band that had the biggest impact on us. I like their authenticity and their taste for experimentation. They revolutionised the classic way of understanding rock n' roll, that backward vision with the masturbatory solos and one or two leaders showing off at the front of the stage.

🔸 𝗦𝗽𝗲𝗮𝗸𝗶𝗻𝗴 𝗼𝗳 "𝗵𝗼𝘂𝘀𝗲 𝘀𝗲𝗰𝗿𝗲𝘁𝘀", 𝗶𝘁 𝘀𝗲𝗲𝗺𝘀 𝘁𝗵𝗮𝘁 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝘁𝘄𝗼 𝘀𝘁𝗿𝗶𝗻𝗴𝘀 𝗮𝗿𝗲 𝗼𝗳𝘁𝗲𝗻 𝘁𝘂𝗻𝗲𝗱 𝗶𝗻 𝘂𝗻𝗶𝘀𝗼𝗻 (𝗖𝗼𝗺𝗲 𝗛𝗼𝗺𝗲, 𝗜 𝗞𝗻𝗼𝘄), 𝗹𝗶𝗸𝗲 𝗕𝗼𝗯 𝗠𝗼𝘂𝗹𝗱 𝗳𝗿𝗼𝗺 𝗛𝘂̈𝘀𝗸𝗲𝗿 𝗗𝘂̈ 𝗼𝗿 𝗧𝗵𝗲 𝗣𝗶𝘅𝗶𝗲𝘀 𝗱𝗶𝗱?
𝑩𝒓𝒊𝒂𝒏: Not bad at all! You discovered that too. We're not playing any songs at the moment, but you're probably right. This process allows me to have a fuller, richer sound. The chords gain space. Also, I hate guitar solos. I've never been attracted to all those vulgar high-pitched shots. Pretentious, pedantic guys like Yngwie Malmsteen are the epitome of mediocrity to me. They are so ridiculous that they are funny. Frankly, their delirium is completely outdated. Sometimes it makes me angry. Chris Cornell of Soundgarden wrote the pure masterpiece Black Hole Sun. Why did Kim Tahil go and stick that guitar solo in the middle. It doesn't make any sense and it detracts from the cohesion of the song. In short, the little string was of little use to me, so I preferred to detune it and give it this "resonator" role.

🔸 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗺𝗮𝗶𝗻𝗹𝘆 𝗯𝗿𝗲𝗮𝗸𝘀 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝘂𝘀𝘂𝗮𝗹 𝗮𝗻𝗱 𝘃𝗲𝗿𝘆 𝗺𝗮𝗰𝗵𝗼 𝗰𝗹𝗶𝗰𝗵𝗲́ 𝗼𝗳 𝘁𝗵𝗲 𝗿𝗼𝗰𝗸 𝗻 𝗿𝗼𝗹𝗹 𝗯𝗮𝗻𝗱.
𝑩𝒓𝒊𝒂𝒏: (smiling) I know what you mean. As I said, alternative rock has helped to demystify the phoney image of those Guns N' Roses-like bands, who forgot that the most important thing is to write good songs and above all to communicate emotions. At the end of the day, the band has to stick together and sound like one. This notion is essential. Before trying to impress others with a peudo-rebel attitude and instrumental prowess, bands should learn to play together. With Placebo, we have always tried to understand, to find the right synergy between us, for maximum efficiency.

🔸 𝗜𝘁 𝘀𝗲𝗲𝗺𝘀 𝗼𝗯𝘃𝗶𝗼𝘂𝘀 𝘁𝗵𝗮𝘁 𝘆𝗼𝘂 𝗮𝗿𝗲 𝗮𝗻 𝗮𝘂𝘁𝗼𝗱𝗶𝗱𝗮𝗰𝘁 𝗼𝗻 𝘁𝗵𝗲 𝗶𝗻𝘀𝘁𝗿𝘂𝗺𝗲𝗻𝘁.
𝑩𝒓𝒊𝒂𝒏: I learned to play the guitar through songwriting. I picked up a guitar one day, because I had this deep need to get all these songs out of me. But in this band, the roles are not as defined as you think, especially in the writing phase. The quality of the songs comes 99% from what happens between the three of us as we jam and try out plans over and over again. One of our favourite games is to swap instruments, so we come up with unusual ideas while fighting against our own automatisms, and then to put ourselves in the shoes of another for a moment, to better understand our role and our difficulties. This collective work is very cool and beneficial.

🔸 𝗟𝗶𝗸𝗲 𝗧𝗵𝗲 𝗖𝘂𝗿𝗲, 𝘆𝗼𝘂 𝘂𝘀𝗲 𝗯𝗮𝗿𝗶𝘁𝗼𝗻𝗲 𝗴𝘂𝗶𝘁𝗮𝗿𝘀. 𝗜𝘁'𝘀 𝗼𝗻𝗲 𝗼𝗳 𝘆𝗼𝘂𝗿 𝘁𝗿𝗮𝗱𝗲𝗺𝗮𝗿𝗸𝘀.
𝑩𝒓𝒊𝒂𝒏: We saw a Tortoise show a long time ago. They were using this instrument and it immediately appealed to us. The baritone guitar is a bass that was designed in the 60's to be played by guitarists. As a result, this instrument is both rhythmic and melodic, and blends beautifully with the traditional guitar. It's true that Robert Smith is the most famous user of this instrument, but he uses it in a much more sophisticated way than we do, creating very melodic riffs. Our approach to the baritone guitar is primarily rhythmic, and the lower register inspires us more. Stefan has one too. We touch a bit on all instruments, including keyboards. Everyone has their own part to play.

🔸𝗔𝗻𝗱 𝗼𝗻 𝘀𝘁𝗮𝗴𝗲, 𝗵𝗼𝘄 𝗱𝗼 𝘆𝗼𝘂 𝗴𝗼 𝗮𝗯𝗼𝘂𝘁 𝗿𝗲𝗰𝗿𝗲𝗮𝘁𝗶𝗻𝗴 𝗮𝗹𝗹 𝘁𝗵𝗲𝘀𝗲 𝗮𝘁𝗺𝗼𝘀𝗽𝗵𝗲𝗿𝗲𝘀?
𝑩𝒓𝒊𝒂𝒏: Our old buddy Bill plays the keyboards on stage. He's been around for a long time, only he used to play behind the amps, so no one saw him.

Photo credit: Stefan Malzkorn

🔸 𝗛𝗼𝘄 𝘀𝗼?
𝑩𝒓𝒊𝒂𝒏: Well, poor Bill likes hamburgers a bit too much and we put him on a diet to get him back on track (!!!). Now we're putting him on the edge of the stage. Bill cannot be considered a real member of Placebo as he is not involved in our creative process.

🔸 𝗬𝗼𝘂 𝗺𝗲𝗮𝗻 𝘁𝗵𝗮𝘁 𝗮 𝗳𝗮𝘁 𝗽𝗲𝗿𝘀𝗼𝗻 𝗰𝗼𝘂𝗹𝗱 𝗻𝗲𝘃𝗲𝗿 𝗽𝗹𝗮𝘆 𝗶𝗻 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 ?
𝑩𝒓𝒊𝒂𝒏: He'd have to seriously go green (laughs)! I have nothing against large-bodied people, but the image of Placebo is nothing like Queen Of The Stone Age or Naplam Death (laughs)!

🔸 𝗬𝗼𝘂𝗿 𝗴𝘂𝗶𝘁𝗮𝗿𝘀 𝗵𝗮𝘃𝗲 𝘃𝗲𝗿𝘆 𝗽𝗮𝗿𝘁𝗶𝗰𝘂𝗹𝗮𝗿 𝘁𝗼𝗻𝗲𝘀, 𝗮 𝘃𝗲𝗿𝘆 𝗳𝘂𝘇𝘇 𝘀𝗼𝘂𝗻𝗱 𝘁𝗵𝗮𝘁 𝗸𝗲𝗲𝗽𝘀 𝗮 𝗴𝗼𝗼𝗱 𝗰𝗹𝗮𝗿𝗶𝘁𝘆. 𝗪𝗵𝗮𝘁 𝗮𝗿𝗲 𝘆𝗼𝘂𝗿 𝗿𝗲𝗰𝗶𝗽𝗲𝘀?
𝑩𝒓𝒊𝒂𝒏: For me I have a Messa/Boogle mark III combo that comes out on top of a big Marshall cabinet, and a Fender Twin Reverb. It took me a long time to get to this configuration. I finally have the sound I had in mind for years. Stefan also has a Twin which he mixes with a Marshall JCM 2000 head. As far as pedals are concerned, we love the Boss Metal Zone, which has a very sharp distortion. Otherwise, I have a simple delay, and an Electro Harmonix Micro Synthetizer which is really cool. My setup is very simple, because I focus on the vocals, and controlling the tuning while tapping is not easy. Our guitars are all vintage models. I have a Gibson SG, a Jaguar and a Telecaster Thinline Deluxe which is perfect for feedback and more powerful in the bass than a classic Tele. Stefan also has a Thinline and a Jaguar, as well as a Fender Baritone. And they look really good too.

🔸 𝗪𝗵𝗮𝘁 𝗮𝗯𝗼𝘂𝘁 𝘁𝗵𝗲 𝘀𝘁𝘂𝗱𝗶𝗼?
𝑩𝒓𝒊𝒂𝒏: Today we have exactly the same set-up in the studio. We used to rent all sorts of amps and spend more time trying out hookups than playing. In the studio you have to be very productive, you have to be in a creative frame of mind. So we don't waste time with that kind of crap anymore. You're really there to experiment and optimise the compositions with all sorts of treatments.

🔸 𝗧𝗵𝗲 𝗽𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻 𝗼𝗳 𝘆𝗼𝘂𝗿 𝗿𝗲𝗰𝗼𝗿𝗱𝘀 𝗶𝘀 𝗯𝗲𝗰𝗼𝗺𝗶𝗻𝗴 𝗺𝗼𝗿𝗲 𝗮𝗻𝗱 𝗺𝗼𝗿𝗲 𝘀𝗼𝗽𝗵𝗶𝘀𝘁𝗶𝗰𝗮𝘁𝗲𝗱.
𝑩𝒓𝒊𝒂𝒏: Looking back, the first album sounds very naive, doesn't it? the songs are good, but there is a big lack of maturity. This record is our first real experience of the studio. In contrast, Without You I'm Nothing is too produced (laughs). The sound is, for my taste, far too smooth and sanitized. Black Market Music is the only one I'm really happy with in terms of production work. I have to say that we have much more control over things. We have learned to understand the material and to better manage the musician/technician relationship by making records. But we're still not very good with the equipment, which is often complex. We're like kids in front of machines like the Sherman filters, the Pod Line 6 or the Mutron. We want the mix to have a "manual" feel, and a lot of the sound processing to be done live. Everyone had to turn their knobs at specific times. We really had fun. On the other hand, the production also depends on the sound of the band itself and playing together has become second nature.

🔸 𝗔𝗿𝗲 𝘆𝗼𝘂 𝗶𝗻𝘁𝗲𝗿𝗲𝘀𝘁𝗲𝗱 𝗶𝗻 𝗯𝗲𝗰𝗼𝗺𝗶𝗻𝗴 𝗮 𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿?
𝑩𝒓𝒊𝒂𝒏: I'd be very interested in producing another band, I think I have some good ideas for sounds and arrangements, but I'd need a technician to help me with the console anyway. I'd like to be in the position of a pair of ears, artistically directing the sessions and giving my opinion without having to worry about the technical side. But I haven't had a real position in this sense yet.

🔸 𝗢𝗻 𝗦𝗹𝗮𝘃𝗲 𝗧𝗼 𝗧𝗵𝗲 𝗪𝗮𝗴𝗲, 𝗵𝗼𝘄 𝗱𝗼 𝘆𝗼𝘂 𝗽𝗹𝗮𝘆 𝘁𝗵𝗶𝘀 𝗿𝗲𝗰𝘂𝗿𝗿𝗶𝗻𝗴 𝘃𝗶𝗯𝗿𝗮𝘁𝗼 𝗲𝗳𝗳𝗲𝗰𝘁?
𝑩𝒓𝒊𝒂𝒏: It sounds like a vibrato effect, but it's far from it. It's a snare drum hit that has been picked up by a guitar pickup and then triturated with a Mutron. Strange, isn't it? It's a mixture of drums and guitar. We were looking for something and then an accident happened. The wildest and most unusual ideas often come from something you didn't plan. You have to be careful to recognise good accidents and exploit them in the right direction.

Photo credit: Anthony o‘Dwyer

🔸 𝗔𝗻𝗱 𝘁𝗵𝗮𝘁 𝗳𝗮𝗺𝗼𝘂𝘀 𝗺𝗲𝗲𝘁𝗶𝗻𝗴 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝗧𝗵𝗶𝗻 𝗪𝗵𝗶𝘁𝗲 𝗗𝘂𝗸𝗲?
𝑩𝒓𝒊𝒂𝒏: It was completely unreal. Bowie loved our demo and went to our gig. We were 22 years old, no album, and there he was, at the edge of the stage, listening to our sound check. It's the world upside down, isn't it? At the time, we really shat on each other, but then we got drunk on whisky with him. it was even crazier. Then we recorded together. Bowie is really very professional. He's quick and impatient. He's particularly keen on first takes to capture the atmosphere on the spot. Doing it over and over again really gets on his nerves. His only fault is that he can't stop talking. He is very talkative.

🔸 𝗪𝗵𝗮𝘁 𝗼𝘁𝗵𝗲𝗿 𝗰𝗼𝗹𝗹𝗮𝗯𝗼𝗿𝗮𝘁𝗶𝗼𝗻𝘀 𝘄𝗼𝘂𝗹𝗱 𝘆𝗼𝘂 𝗹𝗶𝗸𝗲 𝘁𝗼 𝘁𝗿𝘆?
𝑩𝒓𝒊𝒂𝒏: I would really like to do something with PJ Harvey. I'm into her music and her voice. She really represents the artist as I see it. As far as singers are concerned, the people who appeal to me are those who have personalities, a specific and immediately identifiable grain. I can mention Perry Farrel from Jane's Addiction, Black Francis from The Pixies or Janis Joplin.All these people are the opposite of this useless post grunge where every guy tries to imitate Eddie Vedder's voice or, even worse, these pseudo thrashers who bellow like donkeys. It's totally pathetic, there's no class in it.

🔸 𝗬𝗼𝘂𝗿 𝘃𝗼𝗶𝗰𝗲 𝗵𝗮𝘀 𝘁𝗵𝗮𝘁 𝗿𝗲𝗰𝗼𝗴𝗻𝗶𝘀𝗮𝗯𝗹𝗲 𝘀𝘁𝗮𝗺𝗽. 𝗬𝗼𝘂 𝗺𝘂𝘀𝘁 𝗯𝗲 𝗮 𝗯𝗶𝘁 𝗮𝘄𝗮𝗿𝗲 𝗼𝗳 𝘁𝗵𝗮𝘁, 𝗿𝗶𝗴𝗵𝘁?
𝑩𝒓𝒊𝒂𝒏: If other people are saying it, then maybe there's some truth in it, and that would explain some of Placebo's success. I take that as a compliment. We've always tried to do things our own way, trying to bring in fresh things. I don't know if my singing is that unusual. I think the overall sound of our band is really unusual.

🔸 𝗗𝗼 𝘆𝗼𝘂 𝗲𝘃𝗲𝗿 𝗲𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲 𝗽𝗲𝗿𝗶𝗼𝗱𝘀 𝗼𝗳 𝗹𝗮𝗰𝗸 𝗼𝗳 𝗶𝗻𝘀𝗽𝗶𝗿𝗮𝘁𝗶𝗼𝗻, 𝘁𝗵𝗲 𝗳𝗮𝗺𝗼𝘂𝘀 𝗯𝗹𝗮𝗻𝗸 𝗽𝗮𝗴𝗲 𝘀𝘆𝗻𝗱𝗿𝗼𝗺𝗲?
𝑩𝒓𝒊𝒂𝒏: Yes, we have periods like that, where writing new songs is difficult. My opinion is that you shouldn't force things or you'll end up doing shit. You can't always be in the right frame of mind to create. And every artist has been confronted with this problem. I think that, whatever happens, the pieces are there, buried somewhere inside you. I can't imagine working in a structured, disciplinary way, like: one hour of guitar practice, one hour of vocal work, one hour of piano to look for ideas. I don't believe in this approach at all. Good music touches the emotions. you don't feel things on command.

🔸 𝗢𝗻 𝗕𝗹𝘂𝗲 𝗔𝗺𝗲𝗿𝗶𝗰𝗮𝗻, 𝘆𝗼𝘂 𝘀𝗲𝗲𝗺 𝘁𝗼 𝗯𝗲 𝘀𝗵𝗼𝗼𝘁𝗶𝗻𝗴 𝗱𝗼𝘄𝗻 𝘁𝗵𝗲 𝗨𝗻𝗶𝘁𝗲𝗱 𝗦𝘁𝗮𝘁𝗲𝘀, 𝘆𝗼𝘂𝗿 𝗵𝗼𝗺𝗲 𝗰𝗼𝘂𝗻𝘁𝗿𝘆.
𝑩𝒓𝒊𝒂𝒏: It's more of a metaphor than anything else. I'm not talking about a particular country, but about something I've discovered in myself that I'm not proud of. Every person knows their bad sides and tries to hide them most of the time. I think that we should instead externalise these areas of frustration and obsessions that end up ruining us. Because when you overcome that stuff, your life is better. That's kind of the message of the song.

🔸 𝗕𝘆 𝘁𝗵𝗲 𝘄𝗮𝘆, 𝘁𝗵𝗲 𝘄𝗮𝘆 𝗼𝗳 𝘄𝗿𝗶𝘁𝗶𝗻𝗴 𝗵𝗮𝘀 𝗶𝗺𝗽𝗿𝗼𝘃𝗲𝗱 𝗮 𝗹𝗼𝘁, 𝗶𝗻 𝘁𝗵𝗲 𝘀𝗲𝗻𝘀𝗲 𝘁𝗵𝗮𝘁 𝗶𝘁'𝘀 𝗻𝗼𝘁 𝗿𝗲𝗮𝗹𝗹𝘆 𝗮 𝗳𝗲𝗲𝗹𝗶𝗻𝗴 𝘁𝗵𝗮𝘁 𝗲𝘃𝗲𝗿𝘆𝗼𝗻𝗲 𝗰𝗮𝗻 𝗶𝗻𝘁𝗲𝗿𝗽𝗿𝗲𝘁 𝗶𝗻 𝘁𝗵𝗲𝗶𝗿 𝗼𝘄𝗻 𝘄𝗮𝘆 𝗮𝗻𝘆𝗺𝗼𝗿𝗲.
𝑩𝒓𝒊𝒂𝒏: It's true that on the first two albums, the lyrics were based on impressions and images. My writing is inspired by everyday situations, moods or my own experience. I've taken a step forward with Black Market Music, as I can now channel these impressions into short stories. It is a more personal style of writing that I will try to refine in the future.
𝐺𝑢𝑖𝑡𝑎𝑟𝑒 𝑀𝑎𝑔𝑎𝑧𝑖𝑛𝑒 𝑛° 227 - 𝑀𝑎𝑟𝑠 2001- 𝐼𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑏𝑦 𝐿𝑢𝑑𝑜𝑣𝑖𝑐 𝐸𝑟𝑔𝑎𝑧
𝑃ℎ𝑜𝑡𝑜 𝑐𝑟𝑒𝑑𝑖𝑡: 𝐴𝑛𝑗𝑎, 𝑊𝑎𝑙𝑙 𝐵𝑎𝑐𝑘𝑠𝑡𝑎𝑔𝑒, 2000

🔸🔸𝑇ℎ𝑒 𝑠𝑜𝑢𝑛𝑑 𝑜𝑓 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 ℎ𝑎𝑠 𝑐ℎ𝑎𝑛𝑔𝑒𝑑 𝑠𝑖𝑛𝑐𝑒 𝑡ℎ𝑒𝑛 𝑏𝑢𝑡 𝑖𝑠 𝑠𝑡𝑖𝑙𝑙 𝑟𝑒𝑐𝑜𝑔𝑛𝑖𝑠𝑎𝑏𝑙𝑒. 𝑊ℎ𝑎𝑡 𝑑𝑜 𝑦𝑜𝑢 𝑡ℎ𝑖𝑛𝑘 𝑜𝑓 𝑡ℎ𝑒 𝑒𝑣𝑜𝑙𝑢𝑡𝑖𝑜𝑛 𝑜𝑓 𝑡ℎ𝑒𝑖𝑟 𝑠𝑜𝑢𝑛𝑑/𝑚𝑢𝑠𝑖𝑐?
𝐴𝑠 𝑓𝑜𝑟 𝑚𝑒, 𝑤ℎ𝑎𝑡 𝐼 𝑙𝑜𝑣𝑒 𝑙𝑖𝑣𝑒 𝑖𝑠 𝑤ℎ𝑒𝑛 𝑡ℎ𝑒𝑦 𝑢𝑠𝑒 𝑓𝑒𝑒𝑑𝑏𝑎𝑐𝑘 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒𝑖𝑟 𝑔𝑢𝑖𝑡𝑎𝑟𝑠 𝑎𝑛𝑑 𝑎𝑚𝑝𝑠 𝑎𝑛𝑑 𝑤ℎ𝑎𝑡 𝑎 𝑏𝑒𝑡𝑡𝑒𝑟 𝑒𝑥𝑎𝑚𝑝𝑙𝑒 𝑜𝑓 𝑡ℎ𝑎𝑡 𝑤𝑖𝑡ℎ 𝑡ℎ𝑖𝑠 𝑔𝑟𝑒𝑎𝑡 𝑙𝑖𝑣𝑒 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑜𝑓 𝑇𝑎𝑠𝑡𝑒 𝐼𝑛 𝑀𝑒𝑛 𝑖𝑛 𝐾𝑜𝑙𝑛 (2000)!🔸🔸
📹 https://bit.ly/3jLPyMP

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