🔥⭐ 𝐍𝐞𝐰 𝐈𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰 𝐰𝐢𝐭𝐡 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 - 𝐌𝐎𝐍𝐃𝐎𝐒𝐎𝐍𝐎𝐑𝐎 ⭐🔥

🎤 "𝐖𝐄 𝐇𝐀𝐕𝐄 𝐀𝐍 𝐈𝐍𝐒𝐓𝐈𝐍𝐂𝐓𝐈𝐕𝐄 𝐀𝐍𝐃 𝐄𝐌𝐎𝐓𝐈𝐎𝐍𝐀𝐋 𝐑𝐄𝐋𝐀𝐓𝐈𝐎𝐍𝐒𝐇𝐈𝐏 𝐖𝐈𝐓𝐇 𝐖𝐇𝐀𝐓 𝐖𝐄'𝐑𝐄 𝐃𝐎𝐈𝐍𝐆: 𝐓𝐇𝐀𝐓'𝐒 𝐏𝐋𝐀𝐂𝐄𝐁𝐎." ✨

𝘋𝘦𝘢𝘳 𝘴𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴!
The Spanish independent music magazine 𝑴𝒐𝒏𝒅𝒐𝑺𝒐𝒏𝒐𝒓𝒐 has published in its April issue an interview with 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 made by 𝑹𝒂𝒖́𝒍 𝑱𝒖𝒍𝒊𝒂́𝒏 where he revealed interesting details of the new 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 album “𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐". Today we share with you the translation we have made of it as well as the link of the original interview in Spanish. Enjoy!

Photo credit: Mads Perch / Edit by Rita

🔹𝑴𝒐𝒏𝒅𝒐𝑺𝒐𝒏𝒐𝒓𝒐 𝒎𝒂𝒈𝒂𝒛𝒊𝒏𝒆 𝒊𝒔 𝒂𝒗𝒂𝒊𝒍𝒂𝒃𝒍𝒆 𝒊𝒏 𝒑𝒓𝒊𝒏𝒕 𝒂𝒏𝒅 𝒅𝒊𝒈𝒊𝒕𝒂𝒍 𝒗𝒆𝒓𝒔𝒊𝒐𝒏𝒔:
👉 https://bit.ly/3Ka7oE2

🔹𝑶𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝑰𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘 (𝑰𝒏 𝑺𝒑𝒂𝒏𝒊𝒔𝒉):
👉 https://bit.ly/3uUZrMk

⚡✨💠⚡🎶⭐🎶⚡💠✨⚡


"𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨" (𝐒𝐨 𝐑𝐞𝐜𝐨𝐫𝐝𝐢𝐧𝐠𝐬, 𝟐𝟐), 𝐞𝐢𝐠𝐡𝐭𝐡 𝐬𝐭𝐮𝐝𝐢𝐨 𝐚𝐥𝐛𝐮𝐦 𝐛𝐲 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥, 𝐞𝐧𝐝𝐬 𝐦𝐨𝐫𝐞 𝐭𝐡𝐚𝐧 𝐬𝐞𝐯𝐞𝐧 𝐲𝐞𝐚𝐫𝐬 𝐨𝐟 𝐥𝐨𝐧𝐠 𝐬𝐢𝐥𝐞𝐧𝐜𝐞. 𝐖𝐞 𝐜𝐨𝐧𝐭𝐚𝐜𝐭𝐞𝐝 𝐭𝐡𝐞 𝐥𝐚𝐭𝐭𝐞𝐫 𝐭𝐨 𝐛𝐫𝐞𝐚𝐤 𝐝𝐨𝐰𝐧 𝐭𝐡𝐞 𝐢𝐧𝐬 𝐚𝐧𝐝 𝐨𝐮𝐭𝐬 𝐨𝐟 𝐚𝐧 𝐚𝐥𝐛𝐮𝐦 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐧𝐨𝐭𝐡𝐢𝐧𝐠 𝐛𝐮𝐭 𝐰𝐡𝐚𝐭 𝐚𝐥𝐥 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐟𝐚𝐧𝐬 𝐲𝐞𝐚𝐫𝐧𝐞𝐝 𝐭𝐨 𝐫𝐞𝐜𝐞𝐢𝐯𝐞: 𝐚 𝐫𝐞𝐦𝐚𝐫𝐤𝐚𝐛𝐥𝐞 𝐨𝐧𝐞, 𝐢𝐦𝐩𝐫𝐞𝐠𝐧𝐚𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐩𝐮𝐫𝐞𝐬𝐭 𝐞𝐬𝐬𝐞𝐧𝐜𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐛𝐚𝐧𝐝.

✨ 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘪𝘯𝘨 𝘪𝘯 𝘔𝘢𝘥𝘳𝘪𝘥 (𝘑𝘶𝘭𝘺 6𝘵𝘩, 𝘔𝘢𝘥 𝘊𝘰𝘰𝘭) 𝘢𝘯𝘥 𝘉𝘪𝘭𝘣𝘢𝘰 (𝘑𝘶𝘭𝘺 7𝘵𝘩, 𝘉𝘪𝘭𝘣𝘢𝘰 𝘉𝘉𝘒). ✨
🌠 𝑰 𝒕𝒉𝒊𝒏𝒌 "𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐" (𝑺𝒐 𝑹𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈𝒔, 𝟐𝟐) 𝒄𝒐𝒏𝒕𝒂𝒊𝒏𝒔 𝒕𝒉𝒆 𝒂𝒃𝒔𝒐𝒍𝒖𝒕𝒆 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒊𝒎𝒑𝒓𝒊𝒏𝒕 𝒐𝒏 𝒊𝒕: 𝒑𝒆𝒓𝒉𝒂𝒑𝒔 𝒊𝒕 𝒊𝒔 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎 𝒘𝒊𝒕𝒉 𝒂 𝒎𝒐𝒓𝒆 𝒄𝒍𝒂𝒔𝒔𝒊𝒄𝒂𝒍 𝒂𝒏𝒅 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒛𝒂𝒃𝒍𝒆 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒔𝒐𝒖𝒏𝒅 𝒊𝒏 𝒂 𝒍𝒐𝒏𝒈 𝒕𝒊𝒎𝒆. 𝑾𝒆𝒓𝒆 𝒚𝒐𝒖 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒕𝒐 𝒕𝒂𝒌𝒆 𝒖𝒑 𝒂𝒈𝒂𝒊𝒏 𝒕𝒉𝒂𝒕 𝒌𝒊𝒏𝒅 𝒐𝒇 𝒕𝒓𝒂𝒅𝒊𝒕𝒊𝒐𝒏𝒂𝒍 𝒔𝒐𝒖𝒏𝒅 𝒘𝒊𝒕𝒉𝒊𝒏 𝒕𝒉𝒆 𝒃𝒂𝒏𝒅? 𝑾𝒉𝒂𝒕 𝒂𝒔𝒑𝒆𝒄𝒕 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎 𝒕𝒐 𝒉𝒂𝒗𝒆?

🎙️Maybe it's inevitable that a Placebo album will sound like something other than Placebo, but we really tried to approach it from a different angle. In several ways. For example, for the first time in our career we started the record without a drummer. It was just me and Brian (Molko) in my studio. Instead of seeing that as an obstacle, we realized that we had more freedom when we were looking for new lands. We started the album thinking we would do everything with a drum machine. In the end it wasn't like that, but it was how we started. We also started the album by doing the process backwards. I mean, when we make a record, the last thing we usually decide is the cover, the title of the record, the song titles... but this time we started with that. So the process has included several things that have been different from how we had done them before. I think we did it that way for us, to avoid feeling like we were doing the same thing as before. But you, for example, say that the result sounds a lot like Placebo. And sure, I think in the end it's inevitable because it's Brian and I, and that's the band and the sound. We're the two musicians and the two songwriters on the project, and ultimately we have an instinctive and emotional relationship with what we're doing: that's Placebo.

Photo credit: Emma Platt 

🌠 𝑰𝒏 𝒂𝒏𝒚 𝒄𝒂𝒔𝒆, 𝒕𝒉𝒆 𝒔𝒐𝒖𝒏𝒅 𝒐𝒇 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎 𝒊𝒔 𝒎𝒂𝒈𝒏𝒊𝒇𝒊𝒄𝒆𝒏𝒕: 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐'𝒔 𝒗𝒐𝒊𝒄𝒆 𝒔𝒐𝒖𝒏𝒅𝒔 𝒑𝒆𝒏𝒆𝒕𝒓𝒂𝒕𝒊𝒏𝒈 𝒂𝒏𝒅 𝒆𝒍𝒆𝒈𝒂𝒏𝒕; 𝒂𝒏𝒅 𝒕𝒉𝒆 𝒊𝒏𝒔𝒕𝒓𝒖𝒎𝒆𝒏𝒕𝒂𝒕𝒊𝒐𝒏 𝒊𝒔 𝒊𝒎𝒑𝒆𝒄𝒄𝒂𝒃𝒍𝒆: 𝒅𝒂𝒓𝒌, 𝒃𝒖𝒕 𝒂𝒕 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆 𝒕𝒊𝒎𝒆 𝒊𝒏𝒔𝒊𝒏𝒖𝒂𝒕𝒊𝒏𝒈 𝒂𝒏𝒅 𝒔𝒖𝒈𝒈𝒆𝒔𝒕𝒊𝒗𝒆. 𝑯𝒐𝒘 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒎𝒂𝒏𝒂𝒈𝒆 𝒕𝒐 𝒈𝒆𝒕 𝒕𝒉𝒂𝒕 𝒍𝒐𝒐𝒌 𝒕𝒉𝒂𝒕 𝒄𝒐𝒗𝒆𝒓𝒔 𝒕𝒉𝒆 𝒘𝒉𝒐𝒍𝒆 𝒂𝒍𝒃𝒖𝒎? 𝑯𝒐𝒘 𝒘𝒂𝒔 𝒕𝒉𝒆 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈 𝒑𝒓𝒐𝒄𝒆𝒔𝒔 𝒐𝒇 '𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐' 𝒂𝒏𝒅 𝒉𝒐𝒘 𝒉𝒂𝒗𝒆 𝒚𝒐𝒖 𝒘𝒐𝒓𝒌𝒆𝒅, 𝒂𝒕 𝒂 𝒔𝒐𝒏𝒊𝒄𝒂𝒍𝒍𝒚 𝒍𝒆𝒗𝒆𝒍, 𝒐𝒏 𝒕𝒉𝒊𝒔 𝒂𝒍𝒃𝒖𝒎?

🎙️We wanted to count on someone to help us in the studio. When we had all the songs we called our producer Adam Noble, who also produced what until now was our last album, 'Loud Like Love' (Virgin, 13), as well as a couple of songs between these two albums. That sound that you say the album has has a lot to do with Adam, with how he has mixed us, the sound of the voice... There we have a relationship that works very well for us. It's a collaboration that helps us a lot to get what we want out of each song. On this record Brian and I wanted to do something with many layers, and there's something like a love relationship with the keyboards... there's a lot of them. A good example is the first single we released, "Beautiful James", which is featured by a synth melody and we've never done that before, for example. There are synths from all eras and I believe that, in parallel with the fact that we're a rock band, that favors the sound of the album. In the end we not only use a drum machine on the album, but there are also acoustic drums and we are also a guitar band and there are a lot of guitars on the album. Still, it's probably not even our most layered record.

🌠 '𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐' 𝒄𝒂𝒏 𝒃𝒆 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒐𝒐𝒅 𝒂𝒔 𝒂 𝒓𝒆𝒂𝒍𝒊𝒔𝒕𝒊𝒄 𝒂𝒍𝒃𝒖𝒎 𝒂𝒏𝒅 𝒊𝒏 𝒂𝒄𝒄𝒐𝒓𝒅𝒂𝒏𝒄𝒆 𝒘𝒊𝒕𝒉 𝒕𝒉𝒊𝒔 𝒔𝒐𝒎𝒆𝒘𝒉𝒂𝒕 𝒅𝒊𝒔𝒕𝒓𝒆𝒔𝒔𝒊𝒏𝒈 𝒂𝒏𝒅 𝒖𝒏𝒄𝒆𝒓𝒕𝒂𝒊𝒏 𝒎𝒐𝒎𝒆𝒏𝒕 𝒘𝒆 𝒂𝒓𝒆 𝒍𝒊𝒗𝒊𝒏𝒈, 𝒃𝒖𝒕 𝒂𝒕 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆 𝒕𝒊𝒎𝒆 𝒊𝒕 𝒍𝒆𝒕𝒔 𝒈𝒍𝒊𝒎𝒑𝒔𝒆 𝒍𝒊𝒈𝒉𝒕 𝒂𝒏𝒅 𝒆𝒏𝒄𝒐𝒖𝒓𝒂𝒈𝒆𝒔 𝒖𝒔 𝒕𝒐 𝒎𝒐𝒗𝒆 𝒇𝒐𝒓𝒘𝒂𝒓𝒅. 𝑾𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒕𝒉𝒊𝒔 𝒏𝒆𝒘 𝒘𝒐𝒓𝒌 𝒊𝒔 𝒂𝒏 𝒐𝒑𝒕𝒊𝒎𝒊𝒔𝒕𝒊𝒄 𝒐𝒓 𝒑𝒆𝒔𝒔𝒊𝒎𝒊𝒔𝒕𝒊𝒄 𝒂𝒍𝒃𝒖𝒎?

🎙Uffff (laughs)... Hummm... that depends on the day (laughs). Every day I find it more difficult to be optimistic, to be honest. Sure, of course the album includes, in the background, all that is happening around us. And as people we are not young either. We are no longer in our twenties and we don't think that everything we do is the best thing in the world, nor do we think that we will never die. We are not at that stage. I believe the themes a little bit more difficult, the complicated and dark ones, have always been a side of Placebo. And on this album there are still a lot of those themes. But at the same time we have never tried to be a band that wanted to tell the listener what to feel or what to think. So far I've met a lot of people who have taken parts of lyrics and given them positive energy and optimism. So, even though there's darkness, we always have to keep going. And I think that's what we're doing in Placebo: after all this period of time, we're moving on.

🌠 𝑰𝒏 𝒂 𝒍𝒊𝒕𝒕𝒍𝒆 𝒎𝒐𝒓𝒆 𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒚, 𝒘𝒉𝒂𝒕 𝒉𝒂𝒔 𝒊𝒏𝒔𝒑𝒊𝒓𝒆𝒅 𝒚𝒐𝒖 𝒂𝒕 𝒕𝒉𝒆 𝒕𝒊𝒎𝒆 𝒕𝒐 𝒄𝒐𝒎𝒑𝒐𝒔𝒆 𝒕𝒉𝒆 𝒏𝒆𝒘 𝒔𝒐𝒏𝒈𝒔? 𝑯𝒂𝒔 𝒕𝒉𝒆 𝒑𝒂𝒏𝒅𝒆𝒎𝒊𝒄 𝒊𝒏𝒇𝒍𝒖𝒆𝒏𝒄𝒆𝒅 𝒕𝒉𝒆 𝒄𝒓𝒆𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒊𝒔 𝒏𝒆𝒘 𝒂𝒍𝒃𝒖𝒎?

🎙️Well, the pandemic has helped me by giving me extra time to really get deep into the identity of each song. We had more time, me for example here in my studio and Brian on his part with the lyrics, and we've been able to fulfill an album with which to be more satisfied. That doesn't mean it's a perfect album, because the songs never stop developing and have a life of their own. But precisely, we realized that perfection was not a goal to achieve (laughs). Sometimes the imperfections are concretized in small sounds or tunings that are not perfect... and you choose to leave those details so that the music can breathe more. I think that with all that extra time we've had, we've been able to fulfill everything more.

Photo credit: Juliette Robert

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🌠 𝒀𝒐𝒖 𝒎𝒆𝒏𝒕𝒊𝒐𝒏𝒆𝒅 𝒃𝒆𝒇𝒐𝒓𝒆 "𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑱𝒂𝒎𝒆𝒔", 𝒘𝒉𝒊𝒄𝒉 𝒘𝒂𝒔 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒂𝒅𝒗𝒂𝒏𝒄𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎, 𝒂𝒏𝒅 𝒂𝒇𝒕𝒆𝒓 𝒊𝒕 𝒄𝒂𝒎𝒆 "𝑺𝒖𝒓𝒓𝒐𝒖𝒏𝒅𝒆𝒅 𝑩𝒚 𝑺𝒑𝒊𝒆𝒔" 𝒂𝒔 𝒕𝒉𝒆 𝒔𝒆𝒄𝒐𝒏𝒅 𝒔𝒊𝒏𝒈𝒍𝒆. 𝑰𝒔 𝒊𝒕 𝒂 𝒔𝒐𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒉𝒐𝒘 𝒕𝒆𝒄𝒉𝒏𝒐𝒍𝒐𝒈𝒚 𝒔𝒆𝒓𝒗𝒆𝒔 𝒕𝒐 𝒔𝒑𝒚 𝒐𝒏 𝒖𝒔? 𝑺𝒉𝒐𝒖𝒍𝒅 𝒕𝒆𝒄𝒉𝒏𝒐𝒍𝒐𝒈𝒚 𝒃𝒆 𝒂 𝒓𝒆𝒂𝒔𝒐𝒏 𝒇𝒐𝒓 𝒄𝒐𝒏𝒄𝒆𝒓𝒏 𝒇𝒐𝒓 𝒉𝒖𝒎𝒂𝒏𝒊𝒕𝒚?

🎙️It's interesting the difference between the sounds and concepts of "Beautiful James" and "Surrounded By Spies", being that both have Placebo's identity. And of course technology influences us a lot. Sometimes I think we are living within that technological revolution that is exploding, that one that is developing technology at such a speed that, objectively, the human being cannot realize what is happening.
Is all this that is happening a good thing or a bad thing, or is it a mixture? There are a lot of good things and a lot of bad things, and that also depends on the day. But it's a very different world to the world that existed when we started with the band, and I often say to myself that I live in a city like London, which has almost the most complete security system there is, but I'm lucky enough to live in a street that doesn't have cameras... and I feel better in my street! (laughs) Who is gaining from all this and for what reason? We have to think about the price that goes with the way technology has entered our lives.

🌠 𝑰𝒏 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎 𝒕𝒉𝒆𝒓𝒆 𝒂𝒓𝒆 𝒂𝒍𝒔𝒐 𝒒𝒖𝒊𝒕𝒆 𝒂 𝒇𝒆𝒘 𝒊𝒏𝒅𝒖𝒔𝒕𝒓𝒊𝒂𝒍 𝒔𝒐𝒖𝒏𝒅𝒔, 𝒂𝒔 𝒇𝒐𝒓 𝒆𝒙𝒂𝒎𝒑𝒍𝒆 𝒊𝒏 "𝑭𝒐𝒓𝒆𝒗𝒆𝒓 𝑪𝒉𝒆𝒎𝒊𝒄𝒂𝒍𝒔", 𝒕𝒉𝒆 𝒐𝒑𝒆𝒏𝒊𝒏𝒈 𝒕𝒓𝒂𝒄𝒌. 𝑾𝒉𝒂𝒕 𝒆𝒇𝒇𝒆𝒄𝒕 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒂𝒄𝒉𝒊𝒆𝒗𝒆?

🎙️By mentioning that song you reminded me of failures in the process (laughs). Because a lot of times things don't work the way they should work. You turn on a device and it doesn't sound like it used to, and sometimes you don't know why. Or you don't have the login, or things like that. On that track the sound that opens the song was at first a drum machine, but somehow it changed to the sound of a harp and that really caught our attention and we thought it was a much more interesting sound. So we put it on a distortion machine (you know a lot of times the industrial sound comes from distortion, from a signal that's too hot and too saturated), because we've always really liked that kind of sound and our guitars are often distorted. Thus, that harp seemed to us the perfect way to start the album. We also like, speaking of equipment, to put together things that shouldn't be connected in principle (laughs). For example, a pedalboard that goes to a guitar, but instead of putting everything in the right order we put it backwards. Or plugging a keyboard directly into the speaker. That kind of experimentation has always pleased us. I think since the third album we started using the studio more as part of the process of making an album.

🌠 𝑻𝒉𝒆 𝒍𝒂𝒔𝒕 𝒕𝒊𝒎𝒆 𝑰 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘𝒆𝒅 𝒚𝒐𝒖 𝒘𝒊𝒕𝒉 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒘𝒂𝒔 𝒊𝒏 𝟐𝟎𝟏𝟔, 𝒂𝒏𝒅 𝒕𝒉𝒆𝒏 𝒚𝒐𝒖 𝒅𝒆𝒇𝒊𝒏𝒆𝒅 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 𝒂𝒔 "𝒂 𝒃𝒊𝒈 𝒇𝒊𝒓𝒆𝒃𝒂𝒍𝒍 𝒕𝒉𝒂𝒕 𝒔𝒐𝒎𝒆𝒕𝒊𝒎𝒆𝒔 𝒃𝒖𝒓𝒏𝒔 𝒂 𝒍𝒐𝒕 𝒂𝒏𝒅 𝒔𝒐𝒎𝒆𝒕𝒊𝒎𝒆𝒔 𝒈𝒐𝒆𝒔 𝒐𝒖𝒕" 𝑯𝒐𝒘 𝒊𝒔 𝑩𝒓𝒊𝒂𝒏 𝒏𝒐𝒘? 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒎𝒂𝒊𝒏𝒕𝒂𝒊𝒏 𝒕𝒉𝒆 𝒑𝒓𝒐𝒇𝒆𝒔𝒔𝒊𝒐𝒏𝒂𝒍 𝒂𝒏𝒅 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒍 𝒓𝒆𝒍𝒂𝒕𝒊𝒐𝒏𝒔𝒉𝒊𝒑 𝒘𝒊𝒕𝒉 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒇𝒐𝒓 𝒔𝒐 𝒎𝒂𝒏𝒚 𝒚𝒆𝒂𝒓𝒔 𝒔𝒐 𝒕𝒉𝒂𝒕 𝒕𝒉𝒆𝒓𝒆 𝒊𝒔 𝒔𝒕𝒊𝒍𝒍 𝒕𝒉𝒂𝒕 𝒄𝒐𝒎𝒑𝒍𝒊𝒄𝒊𝒕𝒚 𝒂𝒏𝒅 𝒄𝒓𝒆𝒂𝒕𝒊𝒗𝒊𝒕𝒚 𝒃𝒆𝒕𝒘𝒆𝒆𝒏 𝒕𝒉𝒆 𝒕𝒘𝒐 𝒐𝒇 𝒚𝒐𝒖?

Photo credit unknown

🎙️Hummmm... Well, he has said in an interview we did recently that what we have is a marriage, but without sex.

🌠 𝑰𝒕 𝒎𝒂𝒚 𝒔𝒆𝒆𝒎 𝒕𝒉𝒂𝒕 𝒉𝒆 𝒔𝒊𝒏𝒈𝒔 𝒃𝒆𝒕𝒕𝒆𝒓 𝒕𝒉𝒂𝒏 𝒆𝒗𝒆𝒓 𝒂𝒏𝒅 𝒕𝒉𝒂𝒕 𝒏𝒆𝒘 𝒊𝒎𝒂𝒈𝒆 𝒐𝒇 𝒉𝒊𝒎 𝒊𝒔 𝒔𝒕𝒓𝒊𝒌𝒊𝒏𝒈, 𝒂𝒍𝒎𝒐𝒔𝒕 𝒂𝒔 𝒊𝒇 𝒉𝒆 𝒘𝒆𝒓𝒆 𝒓𝒆𝒃𝒐𝒓𝒏.

🎙️From the beginning, when I heard some demos he made when he was sixteen years old, I was impressed. Already at that very moment. And of course he has changed, maybe he doesn't reach as high as before, but he manages his voice very well, really (laughs).

🌠 𝑰𝒏 𝟐𝟎𝟏𝟕 𝒚𝒐𝒖 𝒅𝒊𝒅 𝒂 𝒕𝒐𝒖𝒓 𝒐𝒏 𝒕𝒉𝒆 𝒐𝒄𝒄𝒂𝒔𝒊𝒐𝒏 𝒐𝒇 𝒕𝒉𝒆 𝒃𝒂𝒏𝒅'𝒔 𝟐𝟎𝒕𝒉 𝒂𝒏𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒓𝒚, 𝒘𝒉𝒊𝒄𝒉 𝒘𝒂𝒔 𝒂𝒏𝒏𝒐𝒖𝒏𝒄𝒆𝒅 𝒂𝒔 𝒕𝒉𝒆 𝒍𝒂𝒔𝒕 𝒐𝒑𝒑𝒐𝒓𝒕𝒖𝒏𝒊𝒕𝒚 𝒕𝒐 𝒍𝒊𝒔𝒕𝒆𝒏 𝒕𝒐 𝒎𝒂𝒏𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒐𝒍𝒅 𝒔𝒐𝒏𝒈𝒔 𝒍𝒊𝒗𝒆. 𝑨𝒓𝒆 𝒕𝒉𝒆𝒓𝒆 𝒄𝒍𝒂𝒔𝒔𝒊𝒄 𝒔𝒐𝒏𝒈𝒔 𝒕𝒉𝒂𝒕 𝒘𝒊𝒍𝒍 𝒏𝒆𝒗𝒆𝒓 𝒃𝒆 𝒑𝒍𝒂𝒚𝒆𝒅 𝒂𝒈𝒂𝒊𝒏 𝒂𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒄𝒐𝒏𝒄𝒆𝒓𝒕𝒔? 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒕𝒊𝒓𝒆𝒅 𝒐𝒇 𝒑𝒍𝒂𝒚𝒊𝒏𝒈 𝒔𝒐𝒎𝒆 𝒔𝒐𝒏𝒈𝒔 𝒍𝒊𝒗𝒆?

🎙️Yes, I think we got to a point where we were a bit disillusioned. It was a good idea to celebrate the 20th anniversary, but what happened is that the 23rd anniversary came and we were still touring (laughs). And that has made us feel a quite disconnected relationship with our previous songs. It's always hard to come up with a setlist that works for us. And it has to work for us first, because otherwise, it's not going to work out right, you know? If it doesn't work for us, it won't work for the public either. And at that time, five years ago or so, I thought I couldn't go on tour without a new record. But here we are now, with a new album and I think it will also be an opportunity to reevaluate the relationship with the previous albums. And maybe with this new album we'll also play songs that we haven't played in a long time, I don't know. It's a bit like you were saying before: a rebirth, a reboot.

🌠 𝑻𝒉𝒆 𝒇𝒂𝒄𝒕 𝒊𝒔 𝒕𝒉𝒂𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒉𝒂𝒔 𝒓𝒆𝒎𝒂𝒊𝒏𝒆𝒅 𝒂𝒔 𝒐𝒏𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒊𝒄𝒐𝒏𝒊𝒄 𝒃𝒂𝒏𝒅𝒔 𝒐𝒇 𝒕𝒉𝒆 𝟗𝟎𝒔. 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒌𝒏𝒐𝒘𝒊𝒏𝒈 𝒕𝒉𝒂𝒕?

🎙️I don't really think about it. I wake up with all the same insecurities I had when I was twenty... still! (laughs). That's right, Now I even think a little more, after so much time without going out. I think too much, I worry too much and when I look in the mirror, I don't see a rock star. There is an expression that I recently heard from an American actor, John Cameron Mitchell, and it is disaster bating and he said that it happens to him a lot. It means you invent catastrophes and disasters in your head. I think that, with this pandemic period, we've had the opportunity to fit Placebo around our lives, rather than fitting a life around Placebo. We've been able to reevaluate a little what it means to be in a band now. But I still look in the mirror and I don't see someone like you have said.

🌠 𝑾𝒉𝒂𝒕 𝒊𝒔 𝒄𝒍𝒆𝒂𝒓 𝒊𝒔 𝒕𝒉𝒂𝒕 𝒕𝒉𝒆 𝒎𝒖𝒔𝒊𝒄 𝒊𝒏𝒅𝒖𝒔𝒕𝒓𝒚 𝒉𝒂𝒔 𝒄𝒉𝒂𝒏𝒈𝒆𝒅 𝒂 𝒍𝒐𝒕 𝒇𝒓𝒐𝒎 𝒚𝒐𝒖𝒓 𝒃𝒆𝒈𝒊𝒏𝒏𝒊𝒏𝒈𝒔 𝒕𝒐 𝒏𝒐𝒘𝒂𝒅𝒂𝒚𝒔. 𝑾𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄𝒊𝒔𝒎 𝒉𝒂𝒔 𝒃𝒆𝒆𝒏 𝒍𝒐𝒔𝒕 𝒂 𝒍𝒊𝒕𝒕𝒍𝒆? 𝑾𝒉𝒊𝒄𝒉 𝒔𝒄𝒆𝒏𝒂𝒓𝒊𝒐 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒘𝒂𝒔 𝒎𝒐𝒓𝒆 𝒇𝒂𝒗𝒐𝒓𝒂𝒃𝒍𝒆 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒃𝒂𝒏𝒅𝒔, 𝒕𝒉𝒆 𝒐𝒏𝒆 𝒊𝒏 𝒘𝒉𝒊𝒄𝒉 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒔𝒕𝒂𝒓𝒕𝒆𝒅 𝒐𝒓 𝒕𝒉𝒆 𝒄𝒖𝒓𝒓𝒆𝒏𝒕 𝒐𝒏𝒆?

Photo credit: Placeboworld

🎙️I think it's more difficult now. Being in a band now means you have to spend a lot more time doing other things, like marketing, social media and things like that. Or creating content outside of music, because you have to fight so hard to draw attention to what you're doing.... You have to spend a lot of time. Either that or try to find other ways to make a living. I see it is much more difficult now than before, to be honest.

🌠 𝑨𝒕 𝒕𝒉𝒆 𝒎𝒐𝒎𝒆𝒏𝒕 𝒕𝒉𝒆𝒓𝒆 𝒂𝒓𝒆 𝒏𝒐 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒄𝒐𝒏𝒄𝒆𝒓𝒕𝒔 𝒂𝒏𝒏𝒐𝒖𝒏𝒄𝒆𝒅 𝒊𝒏 𝑺𝒑𝒂𝒊𝒏 𝒃𝒆𝒚𝒐𝒏𝒅 𝒕𝒉𝒆 𝒅𝒂𝒕𝒆𝒔 𝒐𝒇 𝒔𝒐𝒎𝒆 𝒇𝒆𝒔𝒕𝒊𝒗𝒂𝒍𝒔. 𝑾𝒊𝒍𝒍 𝒕𝒉𝒆𝒓𝒆 𝒃𝒆 𝒚𝒐𝒖𝒓 𝒐𝒘𝒏 𝒕𝒐𝒖𝒓 𝒐𝒖𝒕𝒔𝒊𝒅𝒆 𝒕𝒉𝒆 𝒇𝒆𝒔𝒕𝒊𝒗𝒂𝒍 𝒄𝒊𝒓𝒄𝒖𝒊𝒕?

🎙️Yes, I think it goes without saying, because we have always had a fantastic relationship with Spain, and so have I personally. So there's no need to worry (laughs). This summer will be just the beginning of the tour.

🌠 𝑾𝒆 𝒂𝒓𝒆 𝒓𝒖𝒏𝒏𝒊𝒏𝒈 𝒐𝒖𝒕 𝒐𝒇 𝒕𝒊𝒎𝒆, 𝒔𝒐 𝒕𝒐 𝒇𝒊𝒏𝒊𝒔𝒉 𝒐𝒇𝒇, 𝒉𝒐𝒘 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝑷𝒍𝒂𝒄𝒆𝒃𝒐'𝒔 𝒍𝒊𝒗𝒆 𝒔𝒉𝒐𝒘 𝒉𝒂𝒔 𝒄𝒉𝒂𝒏𝒈𝒆𝒅?

🎙️Well, let's see, shall we? (laughs). We are already at the beginning of rehearsals and we still have the same live band, who are fantastic musicians and very good people. So we have the base and from there we are going to develop it. But we are still starting, so I can't give you more details at the moment.
▪️𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕 𝙸𝚗𝚝𝚎𝚛𝚟𝚒𝚎𝚠 𝚋𝚢 𝚁𝚊𝚞́𝚕 𝙹𝚞𝚕𝚒𝚊́𝚗 - 𝙼𝚘𝚗𝚍𝚘𝚂𝚘𝚗𝚘𝚛𝚘 𝟹𝟶𝟻, 𝟶𝟷.𝟶𝟺.𝟸𝟶𝟸𝟸.

🔹𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒕𝒓𝒂𝒏𝒔𝒍𝒂𝒕𝒊𝒐𝒏 𝒃𝒚 𝑹𝒊𝒕𝒂 𝑴𝒐𝒍𝒌𝒐 𝒅𝒆 𝑳. 𝒇𝒐𝒓 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝑨𝒏𝒚𝒘𝒂𝒚

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