🎉✨🎈⚡'𝔼𝕍𝔼ℝ𝕐 𝕐𝕆𝕌 𝔼𝕍𝔼ℝ𝕐 𝕄𝔼' 𝕊𝕚𝕟𝕘𝕝𝕖 𝔸ℕℕ𝕀𝕍𝔼ℝ𝕊𝔸ℝ𝕐⚡🎈✨🎉

⭐“𝙒𝙝𝙤'𝙨 𝙞𝙩 𝙖𝙗𝙤𝙪𝙩? 𝙄'𝙢 𝙣𝙤𝙩 𝙧𝙚𝙖𝙡𝙡𝙮 𝙩𝙤𝙤 𝙨𝙪𝙧𝙚 𝙟𝙪𝙨𝙩 𝙮𝙚𝙩. 𝙄 𝙩𝙝𝙞𝙣𝙠 𝙞𝙩'𝙨 𝙖𝙗𝙤𝙪𝙩 𝙖 𝙡𝙤𝙩 𝙤𝙛 𝙥𝙚𝙤𝙥𝙡𝙚. 𝙋𝙧𝙤𝙗𝙖𝙗𝙡𝙮 𝙖𝙣𝙮𝙗𝙤𝙙𝙮... 𝙚𝙫𝙚𝙧𝙮𝙗𝙤𝙙𝙮 𝙬𝙝𝙤'𝙨 𝙝𝙖𝙙 𝙩𝙝𝙚 𝙙𝙞𝙨𝙥𝙡𝙚𝙖𝙨𝙪𝙧𝙚 𝙤𝙛 𝙨𝙡𝙚𝙚𝙥𝙞𝙣𝙜 𝙬𝙞𝙩𝙝 𝙢𝙚. (𝙡𝙖𝙪𝙜𝙝𝙨) 𝙄 𝙬𝙖𝙣𝙩 𝙩𝙤 𝙨𝙩𝙧𝙚𝙨𝙨 𝙩𝙝𝙖𝙩 𝙄 𝙨𝙖𝙞𝙙 𝙙𝙞𝙨𝙥𝙡𝙚𝙖𝙨𝙪𝙧𝙚 𝙩𝙝𝙚𝙧𝙚.” (𝙡𝙖𝙪𝙜𝙝𝙨)⭐
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙸𝚗 𝙲𝚘𝚗𝚟𝚎𝚛𝚜𝚊𝚝𝚒𝚘𝚗 𝚆𝚒𝚝𝚑 𝚂𝚊𝚕𝚕𝚢 𝚂𝚝𝚛𝚊𝚝𝚝𝚘𝚗, 𝙰𝚞𝚐𝚞𝚜𝚝 '𝟿𝟾)

Dear friends, today we have a little break in the lullaby series again.
I'm honored to make a post to celebrate the song that was at the birth of my passion and long-standing love for the band Placebo.

Photo credit: single cover - Corinne Day, screenshot from video, soundtrack cover, Edit by Marti

The song 🔹𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄🔹 is the eighth track on the album '𝗪𝗶𝘁𝗵𝗼𝘂𝘁 𝗬𝗼𝘂 𝗜'𝗺 𝗡𝗼𝘁𝗵𝗶𝗻𝗴' from 1998 and was released as 🔹𝘁𝗵𝗲 𝘁𝗵𝗶𝗿𝗱 𝘀𝗶𝗻𝗴𝗹𝗲🔹 from this album 🔹𝟐𝟒 𝐲𝐞𝐚𝐫𝐬 𝐚𝐠𝐨, 𝐨𝐧 𝐉𝐚𝐧𝐮𝐚𝐫𝐲 𝟐𝟓, 𝟏𝟗𝟗𝟗🔹.


🔹🎶 𝗘𝗩𝗘𝗥𝗬 𝗬𝗢𝗨 𝗘𝗩𝗘𝗥𝗬 𝗠𝗘 - 𝗢𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗔𝘂𝗱𝗶𝗼
http://bit.ly/3dexwCq


𝗬𝗲𝘀, 𝗶𝘁'𝘀 𝗯𝗲𝗲𝗻 𝟮𝟰 𝘆𝗲𝗮𝗿𝘀😍. 𝗦𝗼 𝗹𝗲𝘁'𝘀 𝗱𝗲𝗱𝗶𝗰𝗮𝘁𝗲 𝘁𝗵𝗶𝘀 𝗲𝘃𝗲𝗻𝗶𝗻𝗴 𝘁𝗼 𝗲𝘃𝗲𝗿𝘆𝘁𝗵𝗶𝗻𝗴 𝘄𝗲 𝗸𝗻𝗼𝘄 𝗮𝗯𝗼𝘂𝘁 𝘁𝗵𝗶𝘀 𝗴𝗲𝗺, 𝘄𝗵𝗶𝗰𝗵 𝗶𝘀 𝘀𝘁𝗶𝗹𝗹 𝗼𝗻𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗯𝗮𝗻𝗱'𝘀 𝗺𝗼𝘀𝘁 𝗽𝗹𝗮𝘆𝗲𝗱 𝗹𝗶𝘃𝗲 𝘁𝗿𝗮𝗰𝗸𝘀.


⭐𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄 - 𝐈𝐌𝐏𝐎𝐑𝐓𝐀𝐍𝐓 𝐈𝐍𝐅𝐎:⭐

🔹“𝘐 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘤𝘢𝘭𝘭 𝘪𝘵 '𝘏𝘦𝘢𝘷𝘺 𝘔𝘦𝘵𝘢𝘭 𝘗𝘦𝘵𝘵𝘪𝘯𝘨 𝘡𝘰𝘰' 𝘣𝘶𝘵 𝘵𝘩𝘦𝘺 𝘸𝘰𝘶𝘭𝘥𝘯'𝘵 𝘭𝘦𝘵 𝘮𝘦!“
(𝙱𝚛𝚒𝚊𝚗 𝚒𝚗 𝙲𝚘𝚗𝚟𝚎𝚛𝚜𝚊𝚝𝚒𝚘𝚗 𝚆𝚒𝚝𝚑 𝚂𝚊𝚕𝚕𝚢 𝚂𝚝𝚛𝚊𝚝𝚝𝚘𝚗, 𝙰𝚞𝚐𝚞𝚜𝚝 𝟷𝟿𝟿𝟾)

🌹The lyrics for the song were written by Brian with the help of his friend and AC Acoustics singer Paul Campion, who "𝘩𝘦𝘭𝘱𝘦𝘥 𝘮𝘦 𝘰𝘶𝘵 𝘰𝘯 𝘵𝘩𝘦 𝘭𝘺𝘳𝘪𝘤𝘴 𝘧𝘰𝘳 '𝘌𝘷𝘦𝘳𝘺 𝘠𝘰𝘶 𝘌𝘷𝘦𝘳𝘺 𝘔𝘦' 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘦𝘤𝘰𝘯𝘥 𝘢𝘭𝘣𝘶𝘮 𝘸𝘩𝘦𝘯 𝘐 𝘩𝘢𝘥 𝘢 𝘸𝘳𝘪𝘵𝘦𝘳'𝘴 𝘣𝘭𝘰𝘤𝘬." (𝙱𝚛𝚒𝚊𝚗, 𝚂𝚎𝚜𝚜𝚒𝚘𝚗 𝚊𝚝 𝙰𝙾𝙻 𝟸00𝟺)

🌹The song 𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄 (along with the entire WYIN album - except Pure Morning) was recorded in early 1998 at Real World Studios with producer Steve Osborne.

🌹The single managed to chart at number 11 on the UK Singles Chart, number 46 in Australia, and number 99 in Germany.

🌹It was voted from a poll of 500,000 votes to be ranked number 83 on the list of the Hottest 100 of All Time in July 2009, conducted by Australian radio station Triple J.

🌹The single was released as a 2-CD set and on cassette, but promotional copies on 12-inch vinyl also exist.

 Screenshot from the video

⭐𝐂𝐃 𝟏 𝐚𝐧𝐝 𝐜𝐚𝐬𝐬𝐞𝐭𝐭𝐞:
Every You Every Me (single mix)
Nancy Boy (Blue Amazon mix)
https://bit.ly/3JAGXaE
Every You Every Me (Jimmy Cauty's Infected by the Scourge of the Earth mix)
https://bit.ly/3qD49fz

⭐𝗖𝗗 𝟮
Every You Every Me (album version)
Every You Every Me (Sneaker Pimps version)
https://bit.ly/31hzuvH
Every You Every Me (Brothers in Rhythm Glam Club mix)
https://bit.ly/3HtTYRg


🌹This song was used as the theme song for the famous American drama ⭐𝐂𝐑𝐔𝐄𝐋 𝐈𝐍𝐓𝐄𝐍𝐓𝐈𝐎𝐍𝐒⭐ with Ryan Phillippe, Reese Witherspoon, Selma Blair and Sarah Michelle Gellar. This film is based on the 1782 novel "𝐃𝐚𝐧𝐠𝐞𝐫𝐨𝐮𝐬 𝐋𝐢𝐚𝐢𝐬𝐨𝐧𝐬" 𝐛𝐲 𝐂𝐡𝐨𝐝𝐞𝐫𝐥𝐨𝐬 𝐝𝐞 𝐋𝐚𝐜𝐥𝐨𝐬, which is set in the present day.

The plot concerns two high school step siblings from New York's high society, who are forever at war with each other and scheme and manipulate other people to achieve their goals, including sex and revenge. I think 𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄 is a great choice for the overall experience of this drama. The lyrics reflect the tone and plot of the film, especially Ryan's character Sebastian.
Following a bet with his evil sister, he decides to hurt a girl who is very vulnerable and naive, and as a result, everything comes to an inescapably tragic end.

 Screenshot from the video

🔹💬𝐁𝐑𝐈𝐀𝐍 𝐎𝐍 𝐂𝐑𝐔𝐄𝐋 𝐈𝐍𝐓𝐄𝐍𝐓𝐈𝐎𝐍𝐒:
"𝘐 𝘴𝘵𝘶𝘥𝘪𝘦𝘥 𝘥𝘳𝘢𝘮𝘢, 𝘐 𝘬𝘯𝘰𝘸 𝘵𝘩𝘦 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 [𝘋𝘢𝘯𝘨𝘦𝘳𝘰𝘶𝘴 𝘓𝘪𝘢𝘪𝘴𝘰𝘯𝘴] 𝘢𝘯𝘥 𝘸𝘦 𝘸𝘢𝘵𝘤𝘩𝘦𝘥 𝘪𝘵 𝘰𝘯 𝘵𝘩𝘦 𝘵𝘰𝘶𝘳 𝘣𝘶𝘴 𝘸𝘩𝘦𝘯 𝘵𝘩𝘦𝘺 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘶𝘴𝘦 𝘰𝘶𝘳 𝘴𝘰𝘯𝘨. 𝘐 𝘴𝘢𝘪𝘥: '𝘐𝘧 𝘩𝘦 𝘥𝘰𝘦𝘴𝘯'𝘵 𝘥𝘪𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘯𝘥, 𝘪𝘧 𝘪𝘵'𝘴 𝘢 𝘩𝘢𝘱𝘱𝘺 𝘦𝘯𝘥𝘪𝘯𝘨, 𝘸𝘦 𝘥𝘰𝘯'𝘵 𝘥𝘰 𝘪𝘵.' 𝘐𝘵'𝘴 𝘲𝘶𝘪𝘵𝘦 𝘱𝘦𝘳𝘷𝘦𝘳𝘵𝘦𝘥 𝘢𝘯𝘥 𝘮𝘢𝘯𝘪𝘱𝘶𝘭𝘢𝘵𝘪𝘷𝘦, 𝘴𝘰 𝘵𝘩𝘦 𝘵𝘩𝘦𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘰𝘯𝘨 𝘧𝘪𝘵𝘴 𝘪𝘯 𝘲𝘶𝘪𝘵𝘦 𝘸𝘦𝘭𝘭."
(𝙷𝚎𝚛𝚊𝚕𝚍 𝚂𝚞𝚗, 𝙰𝚙𝚛𝚒𝚕 𝟸𝟿𝚝𝚑, 𝟷𝟿𝟿𝟿)

🔹🎶𝐎𝐩𝐞𝐧𝐢𝐧𝐠 𝐒𝐜𝐞𝐧𝐞 𝐟𝐫𝐨𝐦 𝐂𝐫𝐮𝐞𝐥 𝐈𝐧𝐭𝐞𝐧𝐭𝐢𝐨𝐧𝐬 (𝟏𝟗𝟗𝟗) - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞
http://bit.ly/3WEqOpT


🌹𝗧𝗵𝗿𝗲𝗲 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝘃𝗶𝗱𝗲𝗼𝘀 𝘄𝗲𝗿𝗲 𝗺𝗮𝗱𝗲 𝗳𝗼𝗿 𝘁𝗵𝗮𝘁 𝘀𝗶𝗻𝗴𝗹𝗲:

Two versions were filmed live at London's 𝑩𝒓𝒊𝒙𝒕𝒐𝒏 𝑨𝒄𝒂𝒅𝒆𝒎𝒚 on October 24th, 1998, during Without You I'm Nothing world tour.

🔹The version with only live footage was released in 1999 at the same time as the single.

🔹Another one, directed by Matthew Amos, includes clips from 𝑪𝒓𝒖𝒆𝒍 𝑰𝒏𝒕𝒆𝒏𝒕𝒊𝒐𝒏𝒔 and was included into 𝐎𝐧𝐜𝐞 𝐌𝐨𝐫𝐞 𝐖𝐢𝐭𝐡 𝐅𝐞𝐞𝐥𝐢𝐧𝐠 𝐃𝐕𝐃 (2004).

🔹🎶𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐕𝐢𝐝𝐞𝐨) 𝟏𝟗𝟗𝟗
http://bit.ly/2SSBvbl
🔹🎶𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐂𝐫𝐮𝐞𝐥 𝐈𝐧𝐭𝐞𝐧𝐭𝐢𝐨𝐧𝐬 𝐯𝐞𝐫𝐬𝐢𝐨𝐧)
https://bit.ly/3JrqIfQ

 Screenshot from the video, HD edit

🔹Third video for 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (so called 𝐀𝐯𝐢𝐝 𝐂𝐮𝐭 or 𝐄𝐲𝐞𝐬 𝐕𝐞𝐫𝐬𝐢𝐨𝐧) was recorded on November 11th, 1998, but wasn’t released with the single due to management’s decision and remained buried in the band’s archive for 18 years!

It was revealed on October 7th, 2016, to mark the release of the compilation album 𝑨 𝑷𝒍𝒂𝒄𝒆 𝑭𝒐𝒓 𝑼𝒔 𝑻𝒐 𝑫𝒓𝒆𝒂𝒎. The scenes from this video were used as intro at the shows of 20 Years of Placebo tour.

🔹🎶𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐮𝐧𝐫𝐞𝐥𝐞𝐚𝐬𝐞𝐝 𝐩𝐫𝐨𝐦𝐨 𝐯𝐢𝐝𝐞𝐨)
https://bit.ly/2RTnQ2n


🌹𝐌𝐲 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐦𝐞𝐦𝐨𝐫𝐢𝐞𝐬...🌹
It was 1999. MTV channel was playing on the TV. The first notes of the song came on, and the singer's voice rang inside my chest. That was my "Wooow PLACEBO!!!" first time. With my arms full - washed clothes in one hand and my almost one-year-old daughter in the other and a baby dummy in my mouth - I stood in front of the television and for several minutes I could not take my eyes off the ambiguous singing being. These memories are still as vivid and strong as if it were yesterday...

And to enjoy this evening even more - here you can see how time went with '𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄' live:

🔹🎶𝐖𝐞𝐫𝐜𝐡𝐭𝐞𝐫 𝟐𝟎𝟎𝟏
https://bit.ly/3mBFy92

🔹🎶𝐑𝐨𝐜𝐤 𝐀𝐦 𝐑𝐢𝐧𝐠 𝟐𝟎𝟎𝟑
https://bit.ly/402UpMM

🔹🎶𝐑𝐞𝐚𝐝𝐢𝐧𝐠 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝟐𝟎𝟎𝟔
https://bit.ly/3kxH66u

🔹🎶𝐑𝐞𝐚𝐝𝐢𝐧𝐠 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝟐𝟎𝟎𝟗
https://bit.ly/3iZxwcr

🔹🎶𝐏𝐚𝐫𝐢𝐬 𝐁𝐞𝐫𝐜𝐲 𝟐𝟎𝟏𝟑
https://bit.ly/3JhQDcf

And there's also the unforgettable slow version from 🔹🎶𝐌𝐓𝐕 𝐔𝐍𝐏𝐋𝐔𝐆𝐆𝐄𝐃 𝟐𝟎𝟏𝟓 with Majke Voss Romme, thanks to which we have this song in our Placebo lullabies:
http://bit.ly/40eBdvF

Post by Marti

🌛▪️ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕃𝕌𝕃𝕃𝔸𝔹𝕀𝔼𝕊 ℙ𝔸ℝ𝕋 𝕍.▪️🌜

☮️🔹"𝑰 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒆𝒓𝒆'𝒔 𝒂 𝒓𝒆𝒂𝒍 𝒃𝒆𝒂𝒖𝒕𝒚 𝒊𝒏 𝒐𝒖𝒓 𝒔𝒂𝒅𝒏𝒆𝒔𝒔 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘 𝒘𝒉𝒆𝒏 𝒊𝒕 𝒈𝒐𝒆𝒔 𝒅𝒐𝒘𝒏 𝒕𝒉𝒆𝒓𝒆 𝒕𝒉𝒆𝒓𝒆'𝒔 𝒔𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝒊𝒏 𝒊𝒕 𝒕𝒉𝒂𝒕 𝒓𝒆𝒂𝒍𝒍𝒚 𝒑𝒖𝒍𝒍𝒔 𝒂𝒕 𝒚𝒐𝒖𝒓 𝒉𝒆𝒂𝒓𝒕, 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘, 𝒂𝒏𝒅 𝑰 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘 𝒉𝒐𝒘 𝒘𝒆 𝒓𝒆𝒂𝒍𝒍𝒚 𝒂𝒄𝒉𝒊𝒆𝒗𝒆 𝒊𝒕 𝒃𝒖𝒕 𝒊𝒕'𝒔 𝒕𝒉𝒆𝒓𝒆. 𝑻𝒉𝒆𝒓𝒆 𝒂𝒍𝒘𝒂𝒚𝒔 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒃𝒆 𝒂 𝒕𝒊𝒏𝒚 𝒃𝒊𝒕 𝒐𝒇 𝒉𝒐𝒑𝒆 𝒂𝒕 𝒕𝒉𝒆 𝒆𝒏𝒅 𝒐𝒇 𝒊𝒕 𝒂𝒔 𝒘𝒆𝒍𝒍 𝒘𝒉𝒊𝒄𝒉 𝒊𝒔 𝒊𝒎𝒑𝒐𝒓𝒕𝒂𝒏𝒕."🔹☮️
(𝘉𝘳𝘪𝘢𝘯 𝘔𝘰𝘭𝘬𝘰, 𝘐𝘯 𝘤𝘰𝘯𝘷𝘦𝘳𝘴𝘢𝘵𝘪𝘰𝘯 𝘸𝘪𝘵𝘩 𝘚𝘢𝘭𝘭𝘺 𝘚𝘵𝘳𝘢𝘵𝘵𝘰𝘯, 𝘈𝘶𝘨𝘶𝘴𝘵 1998)

Photo credit: LUZ Photo Agency

Hello friends,
another week has passed, for many of us very full of events, happy and often difficult.

𝘓𝘦𝘵'𝘴 𝘧𝘰𝘳𝘨𝘦𝘵 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘩𝘢𝘳𝘥𝘴𝘩𝘪𝘱𝘴 𝘵𝘰𝘯𝘪𝘨𝘩𝘵 𝘢𝘯𝘥 𝘭𝘦𝘵 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘣𝘦 𝘤𝘢𝘳𝘳𝘪𝘦𝘥 𝘢𝘸𝘢𝘺 𝘣𝘺 𝘵𝘩𝘳𝘦𝘦 𝘣𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘭𝘶𝘭𝘭𝘢𝘣𝘪𝘦𝘴, 𝘸𝘩𝘪𝘤𝘩 𝘸𝘪𝘭𝘭 𝘱𝘶𝘵 𝘢𝘯 𝘪𝘮𝘢𝘨𝘪𝘯𝘢𝘳𝘺 𝘦𝘯𝘥 𝘵𝘰 𝘵𝘩𝘦 𝘞𝘪𝘵𝘩𝘰𝘶𝘵 𝘠𝘰𝘶 𝘐'𝘮 𝘕𝘰𝘵𝘩𝘪𝘯𝘨 𝘢𝘭𝘣𝘶𝘮 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘺𝘦𝘢𝘳 1998-99.

Again, it was not easy for me.
The first thing I had to deal with was skipping a song that definitely belongs in lullabies.
However, it is mentioned quite often here, and moreover, it is a song so strong and with such a rich history that I would have to dedicate a separate post to it.
Whoever guessed that I'm writing about the song
~*~𝗪𝗶𝘁𝗵𝗼𝘂𝘁 𝗬𝗼𝘂 𝗜'𝗺 𝗡𝗼𝘁𝗵𝗶𝗻𝗴~*~, guessed right.

So I decided to skip this song and another dilemma arose.
Three songs that I love and have a very personal connection to each. Which one to highlight with a shared video clip?

𝐈𝐧 𝐭𝐡𝐞 𝐞𝐧𝐝, 𝐈 𝐡𝐞𝐥𝐝 𝐨𝐧 𝐭𝐨 𝐭𝐡𝐞 𝐢𝐝𝐞𝐚 𝐭𝐡𝐚𝐭 𝐰𝐡𝐚𝐭𝐞𝐯𝐞𝐫 𝐲𝐨𝐮 𝐝𝐨, 𝐢𝐟 𝐲𝐨𝐮 𝐩𝐮𝐭 𝐲𝐨𝐮𝐫 𝐞𝐟𝐟𝐨𝐫𝐭 𝐚𝐧𝐝 𝐲𝐨𝐮𝐫 𝐡𝐞𝐚𝐫𝐭 𝐢𝐧𝐭𝐨 𝐢𝐭, 𝐲𝐨𝐮 𝐰𝐢𝐥𝐥 𝐚𝐥𝐰𝐚𝐲𝐬 𝐝𝐨 𝐰𝐞𝐥𝐥.
Today's first lullaby, which once enchanted my heart and which I used to play from morning till night, is

Photo credit: Neil Cooper

~🔹~🔹~🔹~🔹~🔹~🔹~🔹~🔹~
~*~𝔹𝕌ℝ𝔾𝔼ℝ ℚ𝕌𝔼𝔼ℕ~*~

🔹🎶 𝐎𝐅𝐅𝐈𝐂𝐈𝐀𝐋 𝐀𝐔𝐃𝐈𝐎
https://bit.ly/3RKPVWv


🔹💬𝐁𝐑𝐈𝐀𝐍 𝐎𝐍 „𝐁𝐔𝐑𝐆𝐄𝐑 𝐐𝐔𝐄𝐄𝐍“
"Yeah, we did a song. A new song that will be on the new album, which is called Burger Queen. It's a pun on Burger King and it also means Luxembourger queen. The queer from Luxembourg. It is a very sad story. The character in this song is in the wrong place at the wrong time. It's one of the worst things to be in the wrong place. He is homosexual, he is goth, he's on heroin and he lives in Luxembourg. These are four things you can have in your life ... No. I'm not saying that being homosexual is bad. It's the worst place where you can be all of those things. It makes us cry to listen to this song and play it."
(𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜 - 𝐵𝑙𝑎𝑐𝑘 𝑆𝑒𝑠𝑠𝑖𝑜𝑛𝑠 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 1997)


𝐌𝐲 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐬𝐭𝐨𝐫𝐲 𝐛𝐞𝐡𝐢𝐧𝐝 𝐭𝐡𝐢𝐬 𝐬𝐨𝐧𝐠 𝐢𝐬 𝐯𝐞𝐫𝐲 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 .
☮️I am from the Czech Republic and when I went to high school, we had a totalitarian communist regime.
☮️Few of you can imagine how difficult life must have been for anyone who felt an inner discord with this political leadership that interfered with the daily freedoms of every being.
☮️At that time, it was a great miracle to meet a homosexual on the street who proudly claimed his essential nature. Such a person was immediately destroyed by the system.
☮️However, despite all the hardships, every day on my way to school I met a young man for whom life without pretense came first.
☮️A wonderful person who fascinated me with how ambiguous he was. Always perfectly groomed, with very extravagant hair and make-up, in clothes that were almost impossible to find here.
☮️I still remember his name, even though it's been 35 years. Back when I had a poster of Ziggy Stardust on my wall, I looked forward every day to seeing this gay guy again.
☮️When I first heard this song, a single image rose before my eyes. Once again I was a student waiting for him to appear on a street corner, and once again I perceived the undisguised contempt of the majority of the people of our city, which was a reflection of the then totalitarian era.
☮️𝗛𝗲 𝘄𝗮𝘀 𝗺𝘆 "𝗕𝘂𝗿𝗴𝗲𝗿 𝗤𝘂𝗲𝗲𝗻."☮️


The song was released on the "WYIN" album in 1998 and a year later as a single in French.

𝐇𝐞𝐫𝐞 𝐈 𝐬𝐡𝐚𝐫𝐞 𝐰𝐢𝐭𝐡 𝐲𝐨𝐮 𝐚 𝐥𝐢𝐧𝐤 𝐭𝐨 𝐚 𝐯𝐢𝐝𝐞𝐨 𝐟𝐫𝐨𝐦 𝐚𝐧 𝐚𝐦𝐚𝐳𝐢𝐧𝐠 𝐜𝐨𝐧𝐜𝐞𝐫𝐭 𝐢𝐧 𝐋𝐮𝐱𝐞𝐦𝐛𝐨𝐮𝐫𝐠 𝟏𝟗𝟗𝟗 𝐰𝐡𝐞𝐫𝐞 𝐁𝐫𝐢𝐚𝐧 𝐬𝐚𝐢𝐝 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐬𝐨𝐧𝐠:
"How many of you've ever seen ''Twin Peaks''? Funny thing about ''Twin Peaks'' is that it all looks really nice from the outside. And underneath... There's a lot of nasty shit going on. I've always felt that way about Luxembourg. It looks really nice, there's always weird shit going on underneath. You know what I mean, you know? I always thought if you're gay in Luxembourg it must've been really tough, you know? And if you're goth it must've been even tougher, you know? So, this is the song about living in Luxembourg.”

🔹🎬 𝐁𝐮𝐫𝐠𝐞𝐫 𝐐𝐮𝐞𝐞𝐧 𝐋𝐢𝐯𝐞 𝐋𝐮𝐱𝐞𝐦𝐛𝐨𝐮𝐫𝐠 𝟏𝟗𝟗𝟗
https://bit.ly/3DtRAvn

~🔹~🔹~🔹~🔹~🔹~🔹~🔹~🔹~

Photo credit unknown

Let's go to the second ballad, which I would describe with the words: melancholic, dark, depressing... exactly as Brian writes in the first quote above - such sad songs are simply typical for Placebo.


~*~𝕋ℍ𝔼 ℂℝ𝔸𝕎𝕃~*~

🔹🎶 𝐎𝐅𝐅𝐈𝐂𝐈𝐀𝐋 𝐀𝐔𝐃𝐈𝐎
https://bit.ly/3UlPDXV


It's a classic breakup song, the lyrics describe that state where you're desperate that the other person doesn't love you anymore and you're willing to crawl in front of them to take you back.
I also see a reference to drugs in this verse - 🔹'...𝑰𝒕 𝒕𝒂𝒌𝒆𝒔 𝒕𝒉𝒆 𝒑𝒂𝒊𝒏 𝒂𝒘𝒂𝒚... 𝑻𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒏𝒐𝒕 𝒎𝒂𝒌𝒆 𝒚𝒐𝒖 𝒔𝒕𝒂𝒚...', 🔹
and maybe that's why love left...

🔹💬𝐁𝐑𝐈𝐀𝐍 𝐎𝐍 "𝐓𝐇𝐄 𝐂𝐑𝐀𝐖𝐋"
𝘛𝘩𝘦 𝘭𝘪𝘯𝘦 "𝘠𝘰𝘶𝘳 𝘴𝘮𝘪𝘭𝘦 𝘪𝘵 𝘮𝘢𝘬𝘦𝘴 𝘮𝘦 𝘴𝘯𝘦𝘦𝘻𝘦."
“The idea I had there was of hating someone so much that you get allergic to them - their smile irritates you, and makes you sneeze, I think that’s quite self-explanatory."
(𝑆𝑒𝑙𝑒𝑐𝑡, 𝐴𝑢𝑔𝑢𝑠𝑡 1998)

This song is undoubtedly one of the most beautiful Placebo lullabies.
🔹🎬 𝐄𝐧𝐣𝐨𝐲 𝐭𝐡𝐢𝐬 𝐨𝐥𝐝 𝐯𝐢𝐝𝐞𝐨 𝐨𝐟 𝐭𝐡𝐞 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐤𝐢𝐝𝐬 - 𝐓𝐡𝐞 𝐂𝐫𝐚𝐰𝐥 𝐆𝐥𝐚𝐬𝐭𝐨𝐧𝐛𝐮𝐫𝐲 𝟏𝟗𝟗𝟖:
https://bit.ly/3qzScYD

Photo credit: CD:UK 1999

~🔹~🔹~🔹~🔹~🔹~🔹~🔹~🔹~

For me, the third song is the most important of all Placebo's work. You probably know the reason why...

☮️𝗜𝘁'𝘀 𝘁𝗵𝗲 𝘃𝗲𝗿𝘆 𝗳𝗶𝗿𝘀𝘁 𝘀𝗼𝗻𝗴 𝗜 𝗵𝗲𝗮𝗿𝗱 𝗯𝘆 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗮𝗻𝗱 𝗜 𝘀𝘁𝗶𝗹𝗹 𝗲𝗻𝗷𝗼𝘆 𝘁𝗵𝗲 𝗳𝗲𝗲𝗹𝗶𝗻𝗴 𝗼𝗳 𝗳𝗶𝗿𝘀𝘁 𝗮𝗰𝗾𝘂𝗮𝗶𝗻𝘁𝗮𝗻𝗰𝗲.


~*~𝔼𝕍𝔼ℝ𝕐 𝕐𝕆𝕌 𝔼𝕍𝔼ℝ𝕐 𝕄𝔼~*~

🔹🎶 𝐎𝐅𝐅𝐈𝐂𝐈𝐀𝐋 𝐀𝐔𝐃𝐈𝐎
https://bit.ly/3dexwCq


☮️I still remember the first time I saw the video for this song on MTV in 1999.
At that time, I was already the mother of my first child, and yet, without knowing the reason, passion was immediately written in my heart.
I watched the video and had a lot of questions. Is that a boy or a girl on that stage?
Why is that voice so fascinating to me?
☮️The voice... Then it dawned on me. When i was a little kid, my father used to listen to 𝐑𝐔𝐒𝐇 (Canadian rock band) a lot...
You know where I'm going with this? The lead singer, 𝐆𝐞𝐝𝐝𝐲 𝐋𝐞𝐞, his voice is etched in my fond memories of my father's rock passion.
🔹🎬 𝐑𝐔𝐒𝐇 - 𝐓𝐨𝐦 𝐒𝐚𝐰𝐲𝐞𝐫
https://bit.ly/3qAvZcL

☮️Yes, I know Brian doesn't like this comparison... 😁
But for me it was a moment of complete bliss that I couldn't understand at the time... I just stood transfixed and stared at the screen with the baby in my arms...
And I still carry that feeling in my heart whenever I hear that song.

🔹💬 𝐈 𝐥𝐨𝐯𝐞 𝐭𝐡𝐞 𝐥𝐲𝐫𝐢𝐜𝐬 𝐭𝐨 𝐭𝐡𝐢𝐬 𝐬𝐨𝐧𝐠 𝐚𝐧𝐝 𝐈 𝐥𝐨𝐯𝐞 𝐁𝐫𝐢𝐚𝐧'𝐬 𝐞𝐱𝐩𝐥𝐚𝐧𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 "𝐛𝐨𝐱" 𝐫𝐞𝐟𝐞𝐫𝐞𝐧𝐜𝐞:

"𝘞𝘦𝘭𝘭 𝘧𝘪𝘳𝘴𝘵𝘭𝘺 𝘵𝘩𝘦𝘳𝘦'𝘴 𝘢𝘭𝘭 𝘵𝘩𝘦𝘴𝘦 𝘳𝘦𝘧𝘦𝘳𝘦𝘯𝘤𝘦𝘴 𝘵𝘰 '𝘣𝘰𝘹𝘦𝘴'. 𝘈𝘳𝘦 𝘸𝘦 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘭𝘢𝘥𝘺 𝘧𝘳𝘰𝘯𝘵 𝘣𝘰𝘵𝘵𝘰𝘮 𝘩𝘦𝘳𝘦?
𝐁𝐫𝐢𝐚𝐧: “Well, you could see it two ways, I mean, it could be a box, just a box, not a… a…”
𝐒𝐭𝐞𝐯𝐞 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧: "Lady front bottom.” (sniggering)
𝐁𝐫𝐢𝐚𝐧: “but…”
𝘐𝘵 𝘪𝘴 𝘪𝘴𝘯'𝘵 𝘪𝘵?
𝐁𝐫𝐢𝐚𝐧: “It is. But you can still see it two ways. I mean, the image that I had is a safe place where you put…tender things.”
(𝑆𝑒𝑙𝑒𝑐𝑡, 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 1998)

Photo credit unknown

☮️𝐓𝐡𝐢𝐬 𝐬𝐨𝐧𝐠 𝐚𝐥𝐬𝐨 𝐡𝐚𝐬 𝐚 𝐩𝐥𝐚𝐜𝐞 𝐢𝐧 𝐦𝐲 𝐥𝐮𝐥𝐥𝐚𝐛𝐢𝐞𝐬, 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐭𝐡𝐞 𝐠𝐮𝐲𝐬 𝐭𝐮𝐫𝐧𝐞𝐝 𝐢𝐭 𝐢𝐧𝐭𝐨 𝐚 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐬𝐥𝐨𝐰 𝐯𝐞𝐫𝐬𝐢𝐨𝐧, 𝐰𝐡𝐢𝐜𝐡 𝐦𝐚𝐝𝐞 𝐦𝐞 𝐯𝐞𝐫𝐲 𝐡𝐚𝐩𝐩𝐲.

Post by Marti

🟪▪𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔, 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄: 𝐓𝐇𝐄 𝐁𝐎𝐎𝐊 𝐈𝐍𝐒𝐏𝐈𝐑𝐄𝐃 𝐁𝐘 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝐒𝐎𝐍𝐆▪🟪

There were quite a few times when we talked to you about Placebo songs inspired by the books or the ones that got their titles ‘borrowed’ from Brian’s favourite novels. Today, I’m going to tell you about a book which, other way round, was named after Placebo song, 𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔, 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄 by the American author 𝑫𝒂𝒗𝒊𝒅 𝑳𝒆𝒗𝒊𝒕𝒉𝒂𝒏.
The novel was published in September 2011 in the United States and consists of photographs by 𝑱𝒐𝒏𝒂𝒕𝒉𝒂𝒏 𝑭𝒂𝒓𝒎𝒆𝒓 and corresponding text by 𝑳𝒆𝒗𝒊𝒕𝒉𝒂𝒏.

Photo credit: Scarlet Page; book cover / edit by Olga

The book tells the story of Evan, a young boy whose best friend, Ariel, has recently suffered a psychotic break. The narration is addressing Ariel and tells how Evan is dealing with much guilt surrounding this experience. This guilt is made worse by mysterious photographs that are being strategically left for him.
▪ ▪ ▪
📢As for the title, 𝑫𝒂𝒗𝒊𝒅 𝑳𝒆𝒗𝒊𝒕𝒉𝒂𝒏 said that "when I started writing the book, I wanted the novel to be my equivalent of a Sleeping with Ghosts era Placebo song. But in the book itself, it never says that the character listens to Placebo. The reference is more to the writing than to the events of the story, or the point of view."


𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐌𝐮𝐬𝐢𝐜 𝐕𝐢𝐝𝐞𝐨)
➡️ https://bit.ly/3NZqEFf


🟪Here are some excerpts from the book 𝒓𝒆𝒗𝒊𝒆𝒘 I’ve found for you.
"In this high school-set psychological tale, a tormented teen named Evan starts to discover a series of unnerving photographs - some of which feature him. Someone is stalking him… messing with him… threatening him. Worse, ever since his best friend Ariel has been gone, he’s been unable to sleep, spending night after night torturing himself for his role in her absence. And as crazy as it sounds, Evan’s starting to believe it’s Ariel that’s behind all of this, punishing him. But the more Evan starts to unravel the mystery, the more his paranoia and insomnia amplify, and the more he starts to unravel himself. Creatively told with black-and-white photos interspersed between the text so the reader can see the photos that are so unnerving to Evan, Every You, Every Me is a one-of-a-kind departure from a one-of-a-kind author.

Screenshot from Every you Every me promo video

𝑬𝒗𝒆𝒓𝒚 𝒀𝒐𝒖, 𝑬𝒗𝒆𝒓𝒚 𝑴𝒆 𝒊𝒔 𝒂 𝒅𝒂𝒓𝒌 𝒑𝒔𝒚𝒄𝒉𝒐𝒍𝒐𝒈𝒊𝒄𝒂𝒍 𝒕𝒉𝒓𝒊𝒍𝒍𝒆𝒓 𝒕𝒉𝒂𝒕 𝒊𝒔 𝒉𝒖𝒏𝒕𝒊𝒏𝒈, 𝒈𝒓𝒊𝒑𝒑𝒊𝒏𝒈, 𝒂𝒏𝒅 𝒖𝒕𝒕𝒆𝒓𝒍𝒚 𝒎𝒐𝒗𝒊𝒏𝒈.
And like with other David Levithan’s novels, Every You, Every Me is full of David’s thought provoking ideas and views of things and life. His philosophy is scattered in the story making Evan’s thoughts more profound than a usual teenager character. David’s words as always carry something bigger and deeper in them – they are not just strings of words put together to tell a story but words of wisdom from a genius person like David.


𝑬𝒗𝒆𝒓𝒚 𝒀𝒐𝒖, 𝑬𝒗𝒆𝒓𝒚 𝑴𝒆 𝒊𝒔 𝒂 𝒑𝒐𝒊𝒈𝒏𝒂𝒏𝒕 𝒔𝒕𝒐𝒓𝒚 𝒐𝒇 𝒍𝒐𝒔𝒔, 𝒈𝒓𝒊𝒆𝒇, 𝒂𝒏𝒅 𝒓𝒆𝒅𝒆𝒎𝒑𝒕𝒊𝒐𝒏. 𝑰𝒕 𝒕𝒆𝒍𝒍𝒔 𝒉𝒐𝒘 𝒊𝒕’𝒔 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒍𝒐𝒔𝒆 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒂𝒏𝒅 𝒊𝒏 𝒓𝒆𝒕𝒖𝒓𝒏, 𝒍𝒐𝒔𝒆 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒓𝒐𝒄𝒆𝒔𝒔."
(𝑏𝑙𝑎𝑐𝑘𝑝𝑙𝑢𝑚𝑒.𝑤𝑜𝑟𝑑𝑝𝑟𝑒𝑠𝑠.𝑐𝑜𝑚)


🟪▪𝑸𝑼𝑶𝑻𝑬𝑺▪🟪
☑️“You don’t know me. You know one me, just like I know one you. And you can’t know every me, and I can’t know every you.”
☑️“A photograph it a souvenir of a memory.
It is not a moment. It is the looking at the photograph that becomes the moment. Your own moment.”
☑️“I had gotten so used to being alone, but never entirely used to it. Never used to it enough to stop wanting the alternative.”


🟪𝐃𝐀𝐕𝐈𝐃 𝐋𝐄𝐕𝐈𝐓𝐇𝐀𝐍 is an American young adult fiction author and editor who, particularly, has written numerous works featuring strong male gay characters. Six of Levithan's books have won or been finalists for the Lambda Literary Award for Children's and Young Adult Literature, making him the most celebrated author in the category.


Some other David Levithan’s young adult novels:
▪Survivor (2000)
▪Boy Meets Boy (2003)
▪The Realm of Possibility (2004)
▪Nick and Norah's Infinite Playlist (2006)
▪Naomi and Ely's No Kiss List (2007)
▪Invisibility (2013)
▪You Know Me Well (2016)
▪Dear Diary (2017)
▪Take Me With You When You Go (2021)
▪Anwers in the Pages (2022)
▪The Lover's Dictionary (2011) is the author’s only adult novel so far.

The book by Leviathan

🟪The whole story of how 𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔, 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄 book came into being, started with David Levithan’s fascination with photography…
📢“For the past sixteen years and three months, I’ve taken at least one photograph every day. It started as a new year’s resolution, and for about a decade, it existed on film. … When I started, photographs were physical objects – to see them, you had to have them developed, usually handed back by the batch in unmailable envelopes. Now, photography is everywhere but photographs –physical photographs – are harder to find. […]
𝑾𝒉𝒚 𝒅𝒐𝒆𝒔 𝒊𝒕 𝒎𝒂𝒕𝒕𝒆𝒓 𝒔𝒐 𝒎𝒖𝒄𝒉 𝒕𝒐 𝒎𝒆 𝒕𝒐 𝒉𝒂𝒗𝒆 𝒂 𝒑𝒉𝒚𝒔𝒊𝒄𝒂𝒍 𝒎𝒂𝒏𝒊𝒇𝒆𝒔𝒕𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒂𝒏 𝒊𝒎𝒂𝒈𝒆? 𝑾𝒉𝒚 𝒄𝒂𝒏’𝒕 𝑰 𝒃𝒆 𝒉𝒂𝒑𝒑𝒚 𝒔𝒆𝒆𝒊𝒏𝒈 𝒊𝒕 𝒐𝒏 𝒂 𝒔𝒄𝒓𝒆𝒆𝒏?
[…] Every roll of film became the smallest of time capsules – pieces of memory sealed away until they were unearthed at a later date. […]
I also like sending photos in the mail. […] 𝑻𝒉𝒆𝒓𝒆 𝒊𝒔 𝒎𝒐𝒓𝒆 𝒂𝒕𝒕𝒂𝒄𝒉𝒎𝒆𝒏𝒕 𝒊𝒇 𝒊𝒕’𝒔 𝒏𝒐𝒕 𝒔𝒆𝒏𝒕 𝒂𝒔 𝒂𝒏 𝒂𝒕𝒕𝒂𝒄𝒉𝒎𝒆𝒏𝒕. […]


I started writing novels at about the same time I started taking a photo a day, and a recurring thought I had as my novel-writing career developed was whether I could combine the two in some way. I love visual-hybrid novels, and since I will never, ever be able to draw like Brian Selznick, the most obvious form of illustration was photography. ... The problem was: When I saw my own photographs, I could not separate them from what they already were.


[...] It took a while for me to figure out a way around this. 𝑻𝒉𝒆𝒏 𝒐𝒏𝒆 𝒅𝒂𝒚 𝑰 𝒘𝒂𝒔 𝒐𝒗𝒆𝒓 𝒂𝒕 𝒎𝒚 𝒇𝒓𝒊𝒆𝒏𝒅 𝑱𝒐𝒏𝒂𝒕𝒉𝒂𝒏 𝑭𝒂𝒓𝒎𝒆𝒓’𝒔 𝒂𝒑𝒂𝒓𝒕𝒎𝒆𝒏𝒕, 𝒂𝒏𝒅 𝑰 𝒔𝒑𝒐𝒕𝒕𝒆𝒅 𝒂 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉 – 𝒂 𝒑𝒉𝒚𝒔𝒊𝒄𝒂𝒍 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉 – 𝒂𝒇𝒇𝒊𝒙𝒆𝒅 𝒃𝒚 𝒂 𝒎𝒂𝒈𝒏𝒆𝒕 𝒐𝒏 𝒉𝒊𝒔 𝒓𝒆𝒇𝒓𝒊𝒈𝒆𝒓𝒂𝒕𝒐𝒓. 𝑰𝒕 𝒔𝒉𝒐𝒘𝒆𝒅 𝒂 𝒃𝒐𝒚 𝑰’𝒅 𝒏𝒆𝒗𝒆𝒓 𝒔𝒆𝒆𝒏 𝒃𝒆𝒇𝒐𝒓𝒆, 𝒉𝒂𝒖𝒏𝒕𝒆𝒅 𝒂𝒏𝒅 𝒔𝒆𝒂𝒓𝒄𝒉𝒊𝒏𝒈. 𝑰 𝒄𝒐𝒖𝒍𝒅𝒏’𝒕 𝒓𝒆𝒂𝒍𝒍𝒚 𝒕𝒆𝒍𝒍 𝒘𝒉𝒆𝒓𝒆 𝒉𝒆 𝒘𝒂𝒔. 𝑰 𝒄𝒐𝒖𝒍𝒅𝒏’𝒕 𝒇𝒊𝒈𝒖𝒓𝒆 𝒐𝒖𝒕 𝒘𝒉𝒂𝒕 𝒉𝒆 𝒘𝒂𝒔 𝒘𝒆𝒂𝒓𝒊𝒏𝒈. 𝑩𝒖𝒕 𝑰 𝒄𝒐𝒖𝒍𝒅𝒏’𝒕 𝒔𝒕𝒐𝒑 𝒍𝒐𝒐𝒌𝒊𝒏𝒈 𝒂𝒕 𝒉𝒊𝒎.
Which made me realize: the way around my dilemma was to use someone else’s photographs, not my own. If I didn’t know the story behind them, I could make up whatever story I wanted.
Farmer ... gave me photographs, one at a time, whenever I asked for one. I wrote a novel involving these photographs. He had no idea what I was writing; I had no idea what photograph he would give me next. 𝑻𝒉𝒆 𝒓𝒆𝒔𝒖𝒍𝒕 𝒘𝒂𝒔 𝑬𝒗𝒆𝒓𝒚 𝒀𝒐𝒖, 𝑬𝒗𝒆𝒓𝒚 𝑴𝒆. 𝑻𝒉𝒆 𝒑𝒉𝒐𝒕𝒐 𝒕𝒉𝒂𝒕 𝒘𝒂𝒔 𝒐𝒏 𝒉𝒊𝒔 𝒓𝒆𝒇𝒓𝒊𝒈𝒆𝒓𝒂𝒕𝒐𝒓 𝒊𝒔 𝒊𝒕𝒔 𝒄𝒐𝒗𝒆𝒓 𝒊𝒎𝒂𝒈𝒆.

Photo credit: David Tonge

Every You, Every Me is many things – the story of a pretty messed-up mind, a mystery in both an actual and an existential sense, and an examination of the things we bring and the things we take from a friendship . . . and how confused the bringing and the taking can become. It also, in many ways, is a testament to the power of the physical; within the novel, the main character, Evan, is both haunted and taunted by photographs being left for him by an unknown person. It is the actual presence of the photos that unhinges him – and also forces him to confront the things he is trying hardest not to confront.
The book would not work if Evan were simply being emailed the photos; it would not work if hitting a delete button were an option.


Photographs are easy enough to destroy – all it takes is a few rips, or the kiss of a lighter – but they also bear a certain permanence when held and seen. 𝑻𝒉𝒆𝒚 𝒄𝒂𝒏 𝒃𝒆 𝒂 𝒕𝒆𝒔𝒕𝒂𝒎𝒆𝒏𝒕 𝒐𝒇 𝒘𝒉𝒂𝒕 𝒘𝒆’𝒗𝒆 𝒔𝒆𝒆𝒏, 𝒃𝒖𝒕 𝒕𝒉𝒆𝒚 𝒄𝒂𝒏 𝒂𝒍𝒔𝒐 𝒃𝒆 𝒂 𝒓𝒆𝒗𝒆𝒍𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒉𝒐𝒘 𝒐𝒕𝒉𝒆𝒓𝒔 𝒉𝒂𝒗𝒆 𝒔𝒆𝒆𝒏 𝒖𝒔.
… 𝑰 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒉𝒐𝒍𝒅 𝒎𝒚 𝒎𝒆𝒎𝒐𝒓𝒊𝒆𝒔 𝒊𝒏 𝒎𝒚 𝒉𝒂𝒏𝒅.”

You can read the full story in David’s own words here:
➡️ https://bit.ly/3yyUXg7

Post by Olga

⭐𝟐𝟑𝐫𝐝 𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘: 𝐄𝐕𝐄𝐑𝐘 𝐘𝐎𝐔 𝐄𝐕𝐄𝐑𝐘 𝐌𝐄⭐

𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞, the third single from Placebo’s second studio album Without You I'm Nothing, was released on January 25th, 1999.

The song was written by 𝑩𝒓𝒊𝒂𝒏 and his friend 𝑷𝒂𝒖𝒍 𝑪𝒂𝒎𝒑𝒊𝒐𝒏, lead singer of 𝐀𝐂 𝐀𝐜𝐨𝐮𝐬𝐭𝐢𝐜𝐬. As Brian later said, Paul “helped me out on the lyrics for Every You Every Me on the second album when I had a writer’s block.” (𝑆𝑒𝑠𝑠𝑖𝑜𝑛 𝑎𝑡 𝐴𝑂𝐿 2004)

Photo credit: Screenshots from the video, edit by Silke

When asked who the song was about, 𝑩𝒓𝒊𝒂𝒏 replied in his typical ironic style
“Who's it about? I'm not really too sure just yet. I think it's about a lot of people. Probably anybody... everybody who's had the displeasure of sleeping with me. (laughs) I want to stress that I said displeasure there.” (laughs)
(𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐼𝑛 𝐶𝑜𝑛𝑣𝑒𝑟𝑠𝑎𝑡𝑖𝑜𝑛 𝑊𝑖𝑡ℎ 𝑆𝑎𝑙𝑙𝑦 𝑆𝑡𝑟𝑎𝑡𝑡𝑜𝑛, 𝐴𝑢𝑔𝑢𝑠𝑡 1998)

Along with the rest of the album (apart from Pure Morning), Every You Every Me was recorded in early 1998 at Real World Studios with Steve Osborne.

The single managed to chart at number 11 on the UK Singles Chart, number 46 in Australia, and number 99 in Germany.

It was voted from a poll of 500,000 votes to be ranked number 83 on the list of the Hottest 100 of All Time in July 2009, conducted by Australian radio station Triple J.

Croatian metal band 𝑨𝒔𝒉𝒆𝒔 𝒀𝒐𝒖 𝑳𝒆𝒂𝒗𝒆 covered Every You Every Me on their 2009 album Songs of the Lost. and in 2017, 𝑳𝒊𝒔𝒂 𝑴𝒊𝒕𝒄𝒉𝒆𝒍𝒍 covered the song on her EP When They Play That Song.

The song was featured on the soundtrack of the famous American movie 𝐂𝐫𝐮𝐞𝐥 𝐈𝐧𝐭𝐞𝐧𝐭𝐢𝐨𝐧𝐬 which became another breakthrough moment for Placebo. A lot of people, and in the US particularly, got to know the band thanks to the film and stayed fans ever since.

⭐ 𝐎𝐩𝐞𝐧𝐢𝐧𝐠 𝐒𝐜𝐞𝐧𝐞 𝐟𝐫𝐨𝐦 𝐂𝐫𝐮𝐞𝐥 𝐈𝐧𝐭𝐞𝐧𝐭𝐢𝐨𝐧𝐬 (𝟏𝟗𝟗𝟗) - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞
https://bit.ly/3gzikM8

𝐁𝐫𝐢𝐚𝐧: "I studied drama, I know the original [Dangerous Liaisons] and we watched it on the tour bus when they wanted to use our song. I said: 'If he doesn't die in the end, if it's a happy ending, we don't do it.' It's quite perverted and manipulative, so the theme of the song fits in quite well."
(𝐻𝑒𝑟𝑎𝑙𝑑 𝑆𝑢𝑛, 𝐴𝑝𝑟𝑖𝑙 29𝑡ℎ, 1999)

Single cover

The single was released as a 2-CD set and on cassette, but promotional copies on 12-inch vinyl also exist.

⭐ 𝐂𝐃 𝟏 𝐚𝐧𝐝 𝐜𝐚𝐬𝐬𝐞𝐭𝐭𝐞
Every You Every Me (single mix)
Nancy Boy (Blue Amazon mix)
https://bit.ly/3JAGXaE
Every You Every Me (Jimmy Cauty's Infected by the Scourge of the Earth mix)
https://bit.ly/3qD49fz

⭐ 𝐂𝐃 𝟐
Every You Every Me (album version)
Every You Every Me (Sneaker Pimps version)
https://bit.ly/31hzuvH
Every You Every Me (Brothers in Rhythm Glam Club mix)
https://bit.ly/3HtTYRg

⭐ I also found a couple of other remixes for you.
𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐃𝐉𝐊𝐀𝐎𝐒𝟏𝟏 𝟐-𝐒𝐓𝐄𝐏 𝐃𝐀𝐍𝐂𝐄 𝐌𝐈𝐗)
https://bit.ly/3FOrLUO
𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐋𝐞𝐱𝐲 & 𝐊-𝐏𝐚𝐮𝐥 𝐑𝐞𝐦𝐢𝐱, 𝟐𝟎𝟎𝟕)
https://bit.ly/3pKf8Vh

Single cover

There are two versions of the official video, both filmed live at London's 𝑩𝒓𝒊𝒙𝒕𝒐𝒏 𝑨𝒄𝒂𝒅𝒆𝒎𝒚 on October 24th, 1998, during Without You I'm Nothing world tour. The version with only live footage was released in 1999 at the same time as the single. Another one, directed by Matthew Amos, includes clips from 𝑪𝒓𝒖𝒆𝒍 𝑰𝒏𝒕𝒆𝒏𝒕𝒊𝒐𝒏𝒔 and was included into 𝐎𝐧𝐜𝐞 𝐌𝐨𝐫𝐞 𝐖𝐢𝐭𝐡 𝐅𝐞𝐞𝐥𝐢𝐧𝐠 𝐃𝐕𝐃 (2004).

📹 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐕𝐢𝐝𝐞𝐨) 𝟏𝟗𝟗𝟗
http://bit.ly/2SSBvbl

📹 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐂𝐫𝐮𝐞𝐥 𝐈𝐧𝐭𝐞𝐧𝐭𝐢𝐨𝐧𝐬 𝐯𝐞𝐫𝐬𝐢𝐨𝐧)
https://bit.ly/3JrqIfQ

However, there’s a third video for Every You Every Me (so called 𝐀𝐯𝐢𝐝 𝐂𝐮𝐭 or 𝐄𝐲𝐞𝐬 𝐕𝐞𝐫𝐬𝐢𝐨𝐧) that was recorded on November 11th, 1998, but wasn’t released with the single due to management’s decision and remained buried in the band’s archive for 18 years! It was revealed on October 7th, 2016, to mark the release of the compilation album 𝑨 𝑷𝒍𝒂𝒄𝒆 𝑭𝒐𝒓 𝑼𝒔 𝑻𝒐 𝑫𝒓𝒆𝒂𝒎. The scenes from this video were used as intro at the shows of 20 Years of Placebo tour.

📹 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 (𝐮𝐧𝐫𝐞𝐥𝐞𝐚𝐬𝐞𝐝 𝐩𝐫𝐨𝐦𝐨 𝐯𝐢𝐝𝐞𝐨)
https://bit.ly/2RTnQ2n

📢 𝐁𝐫𝐢𝐚𝐧: “The live video was filmed at Brixton Academy. It was first time we used live footage. This song was the theme tune to the film ‘Cruel Intentions’, which was ‘Les Liaisons Dangereuses’ transported to Upper West Side of New York. It’s a teen film. There’s another version where they intercut it with parts from the film. Even though I’m wearing a rather fetching John Richmond dress, which cost a lot of money, I still look silly. It’s one of my many fashion crimes I was guilty of early in our career.
This video’s also a bit of a cop-out, because we made another video, which didn’t involve performance. It was about twins and never got released. It was banned by management. So we had to pull one together from footage that we’d filmed at Brixton Academy.”
(𝑂𝑛𝑐𝑒 𝑀𝑜𝑟𝑒 𝑊𝑖𝑡ℎ 𝐹𝑒𝑒𝑙𝑖𝑛𝑔 𝐷𝑉𝐷, 2004)

Every You Every Me has got a very impressive 𝐥𝐢𝐯𝐞 𝐡𝐢𝐬𝐭𝐨𝐫𝐲. It was performed on stage at least 745 times, more than any other Placebo song!

Post by Olga

🔸⭐🔸 𝐀𝐋𝐄𝐗 𝐋𝐄𝐄 – 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝐋𝐈𝐕𝐄 𝟐𝟎𝟎𝟔-𝟐𝟎𝟎𝟕 🔸⭐🔸

Hi, dear soulmates, do you remember last Wednesday and post about Xavior Roid?
Today, we move to the times when, alongside the Placebo guys, we saw on stage a strong personality of a musician who then continued to successfully develop his music career.

Photo credit at the end of the post

𝐀𝐥𝐞𝐱 𝐋𝐞𝐞 (𝐛𝐨𝐫𝐧 𝐌𝐚𝐫𝐜𝐡 𝟏𝟔, 𝟏𝟗𝟕𝟎 𝐢𝐧 𝐁𝐫𝐢𝐬𝐭𝐨𝐥, 𝐄𝐧𝐠𝐥𝐚𝐧𝐝) 𝐢𝐬 𝐚 𝐯𝐞𝐫𝐲 𝐜𝐡𝐚𝐫𝐢𝐬𝐦𝐚𝐭𝐢𝐜 𝐄𝐧𝐠𝐥𝐢𝐬𝐡 𝐦𝐮𝐬𝐢𝐜𝐢𝐚𝐧 𝐰𝐡𝐨 𝐡𝐚𝐝 𝐚 𝐬𝐮𝐜𝐜𝐞𝐬𝐬𝐟𝐮𝐥 𝐜𝐚𝐫𝐞𝐞𝐫 𝐛𝐞𝐟𝐨𝐫𝐞 𝐛𝐞𝐢𝐧𝐠 𝐢𝐧𝐯𝐢𝐭𝐞𝐝 𝐚𝐬 𝐚 𝐠𝐮𝐞𝐬𝐭 𝐦𝐞𝐦𝐛𝐞𝐫 𝐨𝐟 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐌𝐄𝐃𝐒 𝐭𝐨𝐮𝐫.


In the 80's and 90's, he played in the bands The Blue Airplanes and Strangelove.
In the late 1990s, he was a live player in the band SUEDE, so in early 2000 he replaced keyboardist Neil Codling and became a full member of Suede. He remained there until their break-up in 2003.


⭐ In January 2006, Lee was recruited for Placebo's live line-up and played with them on their Meds world tour which finished in September 2007. He played guitar and keyboards on the album Live At La Cigale.⭐


Furthermore, his artistic career is very extensive, I would mention mainly original music for ground-breaking documentary series Alone in the Wild in September 2009 and also original music to Hawking, a film about the life of scientist Stephen Hawking directed by Stephen Finnigan released in September 2013.


𝐀𝐧𝐝 𝐢𝐟 𝐭𝐡𝐞𝐫𝐞 𝐚𝐫𝐞 𝐟𝐚𝐧𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐟𝐚𝐦𝐨𝐮𝐬 𝐛𝐚𝐧𝐝 𝐌𝐚𝐬𝐬𝐢𝐯𝐞 𝐀𝐭𝐚𝐜𝐤 𝐚𝐦𝐨𝐧𝐠 𝐲𝐨𝐮, 𝐲𝐨𝐮 𝐜𝐨𝐮𝐥𝐝 𝐡𝐚𝐯𝐞 𝐞𝐱𝐩𝐞𝐫𝐢𝐞𝐧𝐜𝐞𝐝 𝐀𝐥𝐞𝐱 𝐨𝐧 𝐭𝐡𝐞𝐢𝐫 𝐌𝐞𝐳𝐳𝐚𝐧𝐢𝐧𝐞 𝐭𝐨𝐮𝐫 𝐢𝐧 𝟐𝟎𝟏𝟗. 𝐓𝐡𝐞 𝐦𝐞𝐧𝐭𝐢𝐨𝐧 𝐨𝐧 𝐏𝐥𝐚𝐜𝐞𝐛𝐨𝐰𝐨𝐫𝐥𝐝 𝐅𝐁 𝐩𝐫𝐨𝐯𝐞𝐬 𝐭𝐡𝐚𝐭 𝐟𝐫𝐢𝐞𝐧𝐝𝐬𝐡𝐢𝐩 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐭𝐡𝐞 𝐠𝐮𝐲𝐬 𝐬𝐭𝐢𝐥𝐥 𝐥𝐚𝐬𝐭𝐬:
⭐ "WHAT A GAS IT WAS TO SEE OUR OLD FRIEND & TOURING GUITARIST : ALEX LEE : PLAYING GUITAR WITH THE MIGHTY : @massiveattackofficial : AND WHAT A SHOW IT WAS!!! THANKS TO ALL WHO WORKED HARD TO GIVE US SO MUCH PLEASURE. PEACE & LOVE."⭐

Photo credit unknown

I am very glad that I managed to find a nice interview where Alex recalls working with Placebo:
🔸⭐𝐈𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰 𝐰𝐢𝐭𝐡 𝐀𝐥𝐞𝐱 𝐋𝐞𝐞 – 𝐏𝐥𝐚𝐜𝐞𝐛𝐨, 𝐒𝐮𝐞𝐝𝐞⭐🔸
Alex Lee has been lucky enough to have enjoyed 17 years of playing guitar for a living. The many band’s he’s played for include Strange Love, Suede and now Placebo. I caught up with him on tour with Placebo at London’s Wembley Arena.


𝑊ℎ𝑦 𝑑𝑜𝑛’𝑡 𝑦𝑜𝑢 𝑠𝑡𝑎𝑟𝑡 𝑜𝑓𝑓 𝑏𝑦 𝑖𝑛𝑡𝑟𝑜𝑑𝑢𝑐𝑖𝑛𝑔 𝑦𝑜𝑢𝑟𝑠𝑒𝑙𝑓 𝑎𝑛𝑑 𝑡𝑎𝑙𝑘𝑖𝑛𝑔 𝑎 𝑙𝑖𝑡𝑡𝑙𝑒 𝑏𝑖𝑡 𝑎𝑏𝑜𝑢𝑡 𝑤ℎ𝑎𝑡 𝑦𝑜𝑢𝑟 𝑝𝑙𝑎𝑦𝑖𝑛𝑔 𝑐𝑎𝑟𝑒𝑒𝑟 ℎ𝑎𝑠 𝑖𝑛𝑐𝑙𝑢𝑑𝑒𝑑?
"Well, my name’s Alex Lee and I’ve been playing guitar full time now for about 17 years. I left school and started playing in bands straight away and I’m still doing it now! I played in bands at school, was about 15 when I did my first gig and then within six months of leaving school I was asked to join a Bristol band called Blue Airoplanes. They needed a new guitar player to go on tour supporting a band called The Darling Birds who had a top 40 hit at the time so it was great! That went really well and they asked me to stay and pretty soon after we ended up signing a major deal. It snowballed from there really and things started happening really quickly for the band. There was just a big transition at that point from being on a indie label to being on a major and having enough money to go on tour properly and pay everyone a modest wage."


𝐴𝑛𝑑 𝑤ℎ𝑒𝑟𝑒 𝑑𝑖𝑑 𝑦𝑜𝑢 𝑔𝑜 𝑜𝑛𝑡𝑜 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒𝑟𝑒?
"After that I played with a band called Strange Love who were all friends of mine from Bristol. We put that band together after I left the Airoplanes. Strange Love then went on to support Suede and that’s when they needed someone new to play guitar. They knew me already as I’d spent quite a long time touring with them whilst playing with Strange Love. So really it’s all about meeting people and realising you’re on a similar wavelength as people."..../.../


𝐻𝑜𝑤 𝑤𝑜𝑢𝑙𝑑 𝑦𝑜𝑢 𝑑𝑒𝑠𝑐𝑟𝑖𝑏𝑒 𝑦𝑜𝑢 𝑟𝑜𝑙𝑒 𝑤𝑖𝑡ℎ𝑖𝑛 𝑃𝑙𝑎𝑐𝑒𝑏𝑜?
"Well, i’m replacing the keyboard player who was playing on the last tour so it was a Keyboard player that they were originally looking for. The fact that I could play guitar was obviously appealing to them as there are a lot of songs on the new album that are guitar based. It also frees Brian and Stef up to do other things if they want. Brian can now put the guitar down for certain songs live and go off and not have to worry about that which can make for more of a visual thing. Then I can free Stef up sometimes so he can give me the meat and potato parts and he can go and do some of the more interesting parts."


𝑊ℎ𝑎𝑡’𝑠 𝑡ℎ𝑒 𝑡𝑜𝑢𝑟 𝑝𝑟𝑒𝑝𝑎𝑟𝑎𝑡𝑖𝑜𝑛 𝑝𝑟𝑜𝑐𝑒𝑠𝑠 𝑙𝑖𝑘𝑒? 𝐻𝑜𝑤 𝑚𝑢𝑐ℎ 𝑑𝑜 𝑦𝑜𝑢 𝑟𝑒ℎ𝑒𝑎𝑟𝑠𝑒 𝑏𝑒𝑓𝑜𝑟𝑒 𝑎 𝑏𝑖𝑔 𝑡𝑜𝑢𝑟 𝑠𝑢𝑐ℎ 𝑎𝑠 𝑡ℎ𝑖𝑠?
"With this tour we did quite a lot of rehearsing, we managed to rehearse for a month which was a rare luxury. With the Suede thing I didn’t get any rehearsal at all, they just sent me a cassette and had a listen on the way the airport and scribbled a few notes down when I got there!! But with Placebo we had a months rehearsal which involved a lot of programming as it was all new equipment we were using. Learning the songs was the easy part!" .../.../


𝐷𝑜 𝑦𝑜𝑢 𝑤𝑎𝑛𝑡 𝑡𝑜 𝑡𝑎𝑙𝑘 𝑎 𝑙𝑖𝑡𝑡𝑙𝑒 𝑏𝑖𝑡 𝑎𝑏𝑜𝑢𝑡 𝑦𝑜𝑢𝑟 𝑙𝑖𝑣𝑒 𝑠𝑜𝑢𝑛𝑑 𝑎𝑛𝑑 ℎ𝑜𝑤 𝑦𝑜𝑢 𝑔𝑜 𝑎𝑏𝑜𝑢𝑡 𝑚𝑜𝑢𝑙𝑑𝑖𝑛𝑔 𝑦𝑜𝑢𝑟 𝑠𝑜𝑢𝑛𝑑 𝑡𝑜 𝑡ℎ𝑒 𝑠𝑜𝑢𝑛𝑑 𝑜𝑓 𝑡ℎ𝑒 𝑏𝑎𝑛𝑑?
"This tour is slightly different for me (the Placebo tour), because I’m using laptops on stage which is a first for me, so I’m completely in the digital domain now. I’m using a system called ‘Guitar Rig’ for the guitars, so every sound is programmed before hand, then saved and you can tweak and save at each show if you need to. So I go from the guitar, to a sound card, to the laptop and then out into a Marshall power amp and speaker. I wanted there to be some form of a valve and speaker in there somewhere! The reason we’ve done this is because both Brian and Stef have very classic rock setups; Brian plays through a Fender twin, Stef through a Marshall. So we thought it would give the sound a different texture. You have to get used to the new technology quite quickly, although I did have to put in the hours when everyone else was in the pub, I was sitting down shouting at computers!! Its still an education to me but we’re a year into this tour and its still working fine so touch wood it’ll work tonight!!!"
(𝙾𝚗𝚕𝚒𝚗𝚎𝚐𝚞𝚒𝚝𝚊𝚛𝚕𝚎𝚜𝚜𝚘𝚗𝚜.𝚌𝚘.𝚞𝚔)

Placebo at 100 Rock Festival (Bangkok, Thailand). Photo credit unknown

And at the end of my post, enjoy videos from the MEDS tour where you can see Alex in live show:


🔸🎶 Placebo - Post Blue [M6 Private Concert 2006]
https://bit.ly/3wOZlXc

🔸🎶 Placebo "Every you every me" live at Oxegen Festival 2006
https://bit.ly/3qLSWLo

🔸🎶 Placebo "Taste in Men" live Hurricane festival 2007
https://bit.ly/3osaz04

🔸🎶 Placebo - One Of A Kind [Rock Am Ring 2006]
https://bit.ly/2YUdo1e

🔸🎶 Placebo "Meds" live at Vieilles Charrues 2006
https://bit.ly/3Fl8YzT

Photo credit pic 1: bottom photo taken from Alex Lee's official website, rest unknown, edit by Marti
Post by Marti

✨⭐ "𝙎𝙬𝙖𝙡𝙡𝙤𝙬 𝙏𝙝𝙞𝙨! 𝙄𝙩'𝙨 𝙋𝙡𝙖𝙘𝙚𝙗𝙤!" ⭐✨

Gender-bending, chart charging transatlantic trio put the wham! bam! into modern glam.

𝑷𝒍𝒂𝒄𝒆𝒃𝒐 have just performed their adrenaline-charged power ballad "𝑬𝒗𝒆𝒓𝒚 𝑴𝒆, 𝑬𝒗𝒆𝒓𝒚 𝒀𝒐𝒖" live on British TV. Diminutive front person 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 - front "man" just doesn't work - wore lipstick and eyeliner and pounced about in a stretchy black tube skirt, the word "𝐇𝐘𝐏𝐎𝐂𝐑𝐈𝐓𝐄" emblazoned across his tiny t-shirt. Fellow guitarist 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 (the tall gay one) and drummer 𝑺𝒕𝒆𝒗𝒆 𝑯𝒆𝒘𝒊𝒕𝒕 (the burly straight one) just got on playing. Brittle with angst, the track imploded into a cacophony of noise the presumably left viewers reeling. Sales of the trio's second album, '𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈', will no doubt continue to surge.

Placebo at CD:UK 1999. Photo credit unknown

𝑴𝒐𝒍𝒌𝒐 reckons that all things taboo are represented in 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, which is why they get up people's noses. "𝑪𝒐𝒏𝒇𝒖𝒔𝒊𝒐𝒏, 𝒎𝒚𝒔𝒕𝒆𝒓𝒚,𝒂𝒎𝒃𝒊𝒈𝒖𝒊𝒕𝒚," he pronounces in his nasal, transatlantic accent, waving a silk cut in mid-air. Wedged in between his two lofty cohorts on a couch at London's 𝑽𝒊𝒓𝒈𝒊𝒏 𝑹𝒆𝒄𝒐𝒓𝒅𝒔, the Luxembourg-raised American should, you'd think, seem midget-like by comparison. He can thank his giant-sized gob that he doesn't.

"𝑾𝒆'𝒓𝒆 𝒕𝒉𝒆 𝒇𝒂𝒈𝒈𝒐𝒕𝒔 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖'𝒓𝒆 𝒈𝒊𝒓𝒍𝒇𝒓𝒊𝒆𝒏𝒅𝒔 𝒇𝒂𝒏𝒄𝒚," he sniggers, "𝒂𝒏𝒅 𝒕𝒉𝒂𝒕'𝒔 𝒘𝒉𝒚 𝒘𝒆'𝒓𝒆 𝒔𝒐 𝒅𝒂𝒏𝒈𝒆𝒓𝒐𝒖𝒔." Partial to a bit of Wildean wordplay, he adds that "𝑷𝒆𝒐𝒑𝒍𝒆 𝒈𝒆𝒕 𝒖𝒑𝒔𝒆𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒖𝒃 𝒘𝒊𝒕𝒉 𝒖𝒔. 𝒑𝒆𝒐𝒑𝒍𝒆 𝒈𝒆𝒕 𝒖𝒑𝒔𝒆𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒖𝒃𝒍𝒊𝒄 𝒘𝒊𝒕𝒉 𝒖𝒔. 𝑰𝒕'𝒔 𝒑𝒂𝒓𝒕 𝒐𝒇 𝒐𝒖𝒓 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒍𝒊𝒕𝒚."

Nakedly confessional and sexually bewildering, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 have injected a much needed glam aesthetic into a jaded British rock scene. Their screen debut as Seventies band the 𝑭𝒍𝒂𝒎𝒊𝒏𝒈 𝑪𝒓𝒆𝒂𝒕𝒖𝒓𝒆𝒔 in 𝑻𝒐𝒅𝒅 𝑯𝒂𝒚𝒏𝒆𝒔' 𝑽𝒆𝒍𝒗𝒆𝒕 𝑮𝒐𝒍𝒅𝒎𝒊𝒏𝒆 saw them in their element, (𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑺𝒕𝒊𝒑𝒆 watched them on set and has a placebo sticker on his fridge as a result) but just don't label them glam rockers. Where the majority of today's easily classifiable bands continue to insist they defy categories, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 really do.

𝑷𝒍𝒂𝒄𝒆𝒃𝒐's affinity with the gender bending hedonism of 𝑰𝒈𝒈𝒚 and 𝑩𝒐𝒘𝒊𝒆 is palpable (the band supported 𝑩𝒐𝒘𝒊𝒆 on his European Tour and played at his 50th birthday party), but their influences are wide ranging. 𝑶𝒍𝒔𝒅𝒂𝒍 cites 𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆 and 𝑴𝒆𝒕𝒂𝒍𝒍𝒊𝒄𝒂; 𝑯𝒆𝒘𝒊𝒕𝒕 the 𝑻𝒉𝒓𝒐𝒘𝒊𝒏𝒈 𝑴𝒖𝒔𝒆𝒔 and 𝑵𝒊𝒄𝒌 𝑪𝒂𝒗𝒆. 𝑴𝒐𝒍𝒌𝒐 reels off 𝑷𝑱 𝑯𝒂𝒓𝒗𝒆𝒚, the 𝑷𝒊𝒙𝒊𝒆𝒔, 𝑱𝒐𝒚 𝑫𝒊𝒗𝒊𝒔𝒊𝒐𝒏, 𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉, the 𝑫𝒆𝒂𝒅 𝑲𝒆𝒏𝒏𝒆𝒅𝒚𝒔 and, er, 𝑩𝒊𝒍𝒍𝒊𝒆 𝑯𝒐𝒍𝒊𝒅𝒂𝒚. Their fans, he says, "𝒂𝒓𝒆 𝒆𝒗𝒆𝒓𝒚𝒐𝒏𝒆 𝒇𝒓𝒐𝒎 𝒕𝒆𝒆𝒏𝒔 𝒘𝒉𝒐 𝒈𝒆𝒕 𝒕𝒖𝒓𝒏𝒆𝒅 𝒐𝒏 𝒃𝒚 𝒐𝒖𝒓 𝒍𝒐𝒐𝒌, 𝒕𝒐 𝟒𝟎-𝒚𝒆𝒂𝒓-𝒐𝒍𝒅𝒔 𝒘𝒉𝒐 𝒘𝒆𝒓𝒆 𝒕𝒉𝒆𝒓𝒆 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒕𝒊𝒎𝒆 𝒂𝒓𝒐𝒖𝒏𝒅 𝒂𝒏𝒅 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒔𝒆 𝒔𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒆𝒚 𝒈𝒓𝒆𝒘 𝒖𝒑 𝒘𝒊𝒕𝒉. 𝑰𝒕'𝒔 𝒂 𝒄𝒓𝒐𝒔𝒔-𝒈𝒆𝒏𝒆𝒓𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝒕𝒉𝒊𝒏𝒈."

The spawning of 𝑴𝒐𝒍𝒌𝒐 lookalikes began in 1996, when 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's thundering single "𝑵𝒂𝒏𝒄𝒚 𝑩𝒐𝒚" and eponymous debut album enjoyed surprise success. Now no gig would be complete without a gaggle of black bobbed androgynes hanging on to lyrics such as "𝑰'𝒎 𝒖𝒏𝒄𝒍𝒆𝒂𝒏/𝑰'𝒎 𝒂 𝒍𝒊𝒃𝒆𝒓𝒕𝒊𝒏𝒆" and worshipping the multi-lingual, bisexual 𝑴𝒐𝒍𝒌𝒐 as some sort of mini god of identity crisis.

"𝑰𝒎𝒊𝒕𝒂𝒕𝒊𝒐𝒏 𝒊𝒔 𝒕𝒉𝒆 𝒉𝒊𝒈𝒉𝒆𝒔𝒕 𝒇𝒐𝒓𝒎 𝒐𝒇 𝒇𝒍𝒂𝒕𝒕𝒆𝒓𝒚," he pouts. The impeccably mannered 𝑶𝒍𝒔𝒅𝒂𝒍 has an equally polite Japanese male stalker; 𝑯𝒆𝒘𝒊𝒕𝒕 gets women sneaking into his hall way at regular intervals.

While 𝑶𝒍𝒔𝒅𝒂𝒍 and 𝑴𝒐𝒍𝒌𝒐 knew each other vaguely at school in Sweden (𝑶𝒍𝒔𝒅𝒂𝒍 played basketball, 𝑴𝒐𝒍𝒌𝒐 was in the drama group), it wasn't until they moved to England and bumped into each other outside a London tube station that they decided to form a band. And though 𝘱𝘭𝘢𝘤𝘦𝘣𝘰 means "𝑰 𝒘𝒊𝒍𝒍 𝒑𝒍𝒆𝒂𝒔𝒆" in Latin, their only criterion for their monicker was that it be a name they could imagine 40,000 people screaming. They enlisted 𝑯𝒆𝒘𝒊𝒕𝒕 through a friend at 𝑮𝒐𝒍𝒅𝒔𝒎𝒊𝒕𝒉'𝒔 𝑪𝒐𝒍𝒍𝒆𝒈𝒆 (where 𝑴𝒐𝒍𝒌𝒐 was studying drama), lost him briefly to the band 𝑩𝒓𝒆𝒆𝒅 but wooed him back as a permanent member a couple of years ago. He happily takes the credit for 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's funkier sound.

Their rise and rise has coincided with a bout of stories highlighting a predilection for the more illicit things in life. 𝑴𝒐𝒍𝒌𝒐 rails against Britain's tabloid mentality: "𝑻𝒉𝒆𝒚'𝒓𝒆 𝒊𝒓𝒓𝒊𝒕𝒂𝒕𝒊𝒏𝒈 𝒇𝒖𝒄𝒌𝒆𝒓𝒔. 𝑻𝒉𝒆𝒚 𝒘𝒂𝒏𝒕 𝒚𝒐𝒖 𝒕𝒐 𝒃𝒆 𝒈𝒍𝒂𝒎𝒐𝒓𝒐𝒖𝒔, 𝒐𝒗𝒆𝒓 𝒕𝒉𝒆 𝒕𝒐𝒑 𝒓𝒐𝒄𝒌 𝒔𝒕𝒂𝒓𝒔 𝒂𝒏𝒅 𝒕𝒉𝒆𝒏 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒂𝒓𝒆 𝒕𝒉𝒆𝒚 𝒉𝒐𝒍𝒅 𝒊𝒕 𝒂𝒈𝒂𝒊𝒏𝒔𝒕 𝒚𝒐𝒖." Still if you're going to claim things such as, "𝑾𝒆 𝒍𝒆𝒇𝒕 𝒂 𝒕𝒓𝒂𝒊𝒍 𝒐𝒇 𝒃𝒍𝒐𝒐𝒅 𝒂𝒏𝒅 𝒔𝒑𝒖𝒏𝒌 𝒂𝒍𝒍 𝒐𝒗𝒆𝒓 𝒕𝒉𝒆 𝒄𝒐𝒖𝒏𝒕𝒓𝒚," what do you expect? "𝑾𝒆 𝒅𝒊𝒅 𝒊𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒏𝒂𝒎𝒆 𝒐𝒇 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒊𝒐𝒏," says 𝑶𝒍𝒔𝒅𝒂𝒍 quietly.

Placebo at CD:UK 1999, Screenschots, edit by Silke

𝑴𝒐𝒍𝒌𝒐 continues to experience bouts of alienation and aggression. "𝑰'𝒎 𝒂𝒏 𝒊𝒏𝒔𝒆𝒄𝒖𝒓𝒆, 𝒆𝒈𝒐𝒎𝒂𝒏𝒊𝒂𝒄𝒂𝒍 𝒑𝒓𝒊𝒎𝒂 𝒅𝒐𝒏𝒏𝒂," he says, half boasting. 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 advised him never to lose his spontaneity, a creed his best mate 𝑴𝒂𝒓𝒊𝒍𝒚𝒏 𝑴𝒂𝒏𝒔𝒐𝒏 embodies. "𝑾𝒂𝒔𝒏'𝒕 𝑴𝒂𝒓𝒊𝒍𝒚𝒏 𝒑𝒊𝒔𝒔𝒊𝒏𝒈 𝒐𝒏 𝑩𝒊𝒃𝒍𝒆𝒔 𝒊𝒏 𝑨𝒖𝒔𝒕𝒓𝒂𝒍𝒊𝒂?" he asks coquettishly, while the other two rack their brains for names of Australian acts. 𝑪𝒂𝒗𝒆 is mentioned by all three; 𝑩𝒋𝒐𝒓𝒏 𝑨𝒈𝒂𝒊𝒏 and the 𝑨𝒖𝒔𝒕𝒓𝒂𝒍𝒊𝒂𝒏 𝑫𝒐𝒐𝒓𝒔 show are the only other feeble suggestions. "𝑰'𝒎 𝒏𝒐𝒕 𝒈𝒐𝒊𝒏𝒈 𝒕𝒐 𝒑𝒓𝒆𝒕𝒆𝒏𝒅 𝑰 𝒌𝒏𝒐𝒘 𝒎𝒖𝒄𝒉 𝒂𝒃𝒐𝒖𝒕 𝑨𝒖𝒔𝒕𝒓𝒂𝒍𝒊𝒂 𝒃𝒆𝒄𝒂𝒖𝒔𝒆 𝒕𝒉𝒂𝒕 𝒘𝒐𝒖𝒍𝒅 𝒃𝒆 𝒅𝒊𝒔𝒉𝒐𝒏𝒆𝒔𝒕," says 𝑴𝒐𝒍𝒌𝒐, for whom dishonesty is anathema.

𝑴𝒐𝒍𝒌𝒐 had been quoted in the 𝑴𝒆𝒍𝒐𝒅𝒚 𝑴𝒂𝒌𝒆𝒓 as calling 𝑪𝒉𝒓𝒊𝒔 𝑬𝒗𝒂𝒏𝒔, the host of tonight's chat show a "𝒘𝒂𝒏𝒌𝒆𝒓", and swearing that 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 would never do his gig. 𝑬𝒗𝒂𝒏𝒔 returned the insult in kind. Nevertheless, they were eventually invited on, and accepted only on the condition that the wardrobe department found 𝑴𝒐𝒍𝒌𝒐 a t-shirt with "𝐇𝐘𝐏𝐎𝐂𝐑𝐈𝐓𝐄" on it. "𝑻𝒉𝒂𝒕 𝒘𝒂𝒚 𝑰 𝒑𝒓𝒆-𝒆𝒎𝒑𝒕𝒆𝒅 𝒂𝒏𝒚𝒐𝒏𝒆 𝒔𝒍𝒂𝒈𝒈𝒊𝒏𝒈 𝒎𝒆 𝒐𝒇𝒇," he snorts. "𝑰𝒕 𝒘𝒂𝒔 𝒍𝒊𝒌𝒆 𝑰 𝒘𝒂𝒔 𝒔𝒂𝒚𝒊𝒏𝒈, '𝑰'𝒎 𝒇𝒖𝒍𝒍𝒚 𝒂𝒘𝒂𝒓𝒆 𝒐𝒇 𝒘𝒉𝒂𝒕 𝑰 𝒂𝒎'". He smooths his glossy locks with a manicured hand. "𝑰𝒕 𝒂𝒍𝒔𝒐." he adds thoughtfully, "𝒘𝒆𝒏𝒕 𝒘𝒆𝒍𝒍 𝒘𝒊𝒕𝒉 𝒎𝒚 𝒅𝒆𝒔𝒊𝒈𝒏𝒆𝒓 𝒔𝒌𝒊𝒓𝒕."
𝑅𝑜𝑙𝑙𝑖𝑛𝑔 𝑆𝑡𝑜𝑛𝑒, 𝑀𝑎𝑦'99
𝐵𝑦 𝐽𝑎𝑛𝑒 𝐶𝑜𝑟𝑛𝑤𝑒𝑙𝑙

🔹After reading this interesting article published in 𝑹𝒐𝒍𝒍𝒊𝒏𝒈 𝑺𝒕𝒐𝒏𝒆 𝑴𝒂𝒈𝒂𝒛𝒊𝒏𝒆 in 1999 and knowing the story of why 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 wore this T-shirt - which is one of his most famous outfits - let's enjoy this very performance on the British program 𝑪𝑫:𝑼𝑲
(𝑪𝒐𝒖𝒏𝒕𝒅𝒐𝒘𝒏: 𝑼𝒏𝒊𝒕𝒆𝒅 𝑲𝒊𝒏𝒈𝒅𝒐𝒎) recorded in 1999.

⭐𝐂𝐮𝐫𝐢𝐨𝐮𝐬 𝐅𝐚𝐜𝐭⭐
On this occasion, 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 is playing "𝑬𝒗𝒆𝒓𝒚 𝑴𝒆, 𝑬𝒗𝒆𝒓𝒚 𝒀𝒐𝒖" with "𝑳𝒐𝒖𝒊𝒔𝒆" 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐's guitar. 

𝐄𝐯𝐞𝐫𝐲 𝐘𝐨𝐮 𝐄𝐯𝐞𝐫𝐲 𝐌𝐞 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐂𝐃:𝐔𝐊 𝟏𝟗𝟗𝟗 
🎶 https://youtu.be/dcWZFOUwbNw 🎶

Post by Rita

#Placebo #PlaceboAnyway #PlaceboWorld #BrianMolko #StefanOlsdal #SteveHewitt #Soulmates
#PlaceboHistory #MolkoQuote #PlaceboLive #PlaceboSong #PlaceboSingle #EveryMeEveryYou #WithoutYouImNothing #VelvetGoldmine #DavidBowie #MichaelStipe #RollingStone #Hypocrite #RockStyle #AlternativeRockMusic

𝐓𝐇𝐄 𝐒𝐎-𝐂𝐀𝐋𝐋𝐄𝐃 "𝐆𝐀𝐘 𝐇𝐀𝐍𝐃" 𝐎𝐑 𝐋𝐈𝐌𝐏 𝐖𝐑𝐈𝐒𝐓

Who remembers this special gesture Brian used to make with his left hand? Possibly only older fans will remember and know what I am talking about when I mention the so-called “limp wrist“ or “gay hand“ that was characteristic for him in the early days. I found it so damn sexy... – how about you?

 ⏩ 𝗠𝗘𝗔𝗡𝗜𝗡𝗚: Limp wrist is a slang term used towards gay men in reference to how they hold their wrists when they speak. (Urban Dictionary)

Photo credit: Henri Lassander, screenshots from videos / edit by Silke

Maybe it's strange to feel this way, but this specific move is what I miss most at Placebo concerts nowadays. I understand that Brian stopped doing it as he grew older and didn't want people to focus on his androgyny or sexual orientation any more. And of course I know that everything in life - including ourselves - is constantly changing, but actually I've never been a huge fan of that fact.
Now I want to show you some videos in which you can see what Brian's limp wrist looked like. Some of you may notice this move for the first time, but for some others it will surely awaken some great memories of times long gone. Enjoy watching everyone and please share your opinion on Brian's “gay hand“ with us!

🎥 𝗟𝗜𝗧𝗧𝗟𝗘 𝗠𝗢 + 𝗘𝗩𝗘𝗥𝗬 𝗬𝗢𝗨 𝗘𝗩𝗘𝗥𝗬 𝗠𝗘, 𝟮𝟬𝟬𝟭

🎵 https://bit.ly/2Ca3gFo 🎵

🎥 𝗠𝗬 𝗦𝗪𝗘𝗘𝗧 𝗣𝗥𝗜𝗡𝗖𝗘, 𝟮𝟬𝟬𝟭
🎵 https://bit.ly/2PsVGr9 🎵

🎥 𝗟𝗜𝗧𝗧𝗟𝗘 𝗠𝗢, 𝟮𝟬𝟬𝟭
 🎵 https://bit.ly/3s4KFPY 🎵

🎥 𝗖𝗢𝗠𝗠𝗘𝗥𝗖𝗜𝗔𝗟 𝗙𝗢𝗥 𝗟𝗘𝗩𝗜, 𝟮𝟬𝟬𝟬
🎵 https://bit.ly/2NHHPgm 🎵

Post by Silke

𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 𝐂𝐇𝐀𝐓𝐓𝐈𝐍𝐆 𝐖𝐈𝐓𝐇 𝐖𝐈𝐋𝐋𝐈𝐀𝐌 𝐂𝐎𝐍𝐓𝐑𝐎𝐋

Aiden singer 𝙒𝙞𝙡 𝙁𝙧𝙖𝙣𝙘𝙞𝙨 (nowadays better known under his solo project 𝙒𝙞𝙡𝙡𝙞𝙖𝙢 𝘾𝙤𝙣𝙩𝙧𝙤𝙡) met Brian at the Kerrang! Awards show in 2006, where Placebo won an award for Classic Songwriter and Aiden for Best International Newcomer. Alternative Press was able to bring them both together for a chat on everything from work ethic to personal space the following year. Enjoy their conversation!
William Control, whose music I like a lot, later did a cover version of “Every me Every you” which I also share in this post. Let us know what you think about the chat and the added songs.

Photo credit: Scarlet Page (Molko), unknown (4) / edit by Silke

𝘞𝘪𝘭 𝘍𝘳𝘢𝘯𝘤𝘪𝘴 (𝘢𝘬𝘢 𝘞𝘪𝘭𝘭𝘪𝘢𝘮 𝘊𝘰𝘯𝘵𝘳𝘰𝘭): “𝘐 𝘭𝘢𝘴𝘵 𝘴𝘢𝘸 𝘺𝘰𝘶 𝘢𝘵 𝘵𝘩𝘦 𝘒𝘦𝘳𝘳𝘢𝘯𝘨! 𝘈𝘸𝘢𝘳𝘥𝘴. 𝘊𝘰𝘯𝘨𝘳𝘢𝘵𝘶𝘭𝘢𝘵𝘪𝘰𝘯𝘴 𝘰𝘯 𝘸𝘪𝘯𝘯𝘪𝘯𝘨 𝘵𝘩𝘦 𝘢𝘸𝘢𝘳𝘥, 𝘣𝘺 𝘵𝘩𝘦 𝘸𝘢𝘺.”
Brian Molko: “You too, you too. It was a good night fot both of us.”

𝘞𝘪𝘭: “𝘠𝘦𝘢𝘩, 𝘪𝘵 𝘸𝘢𝘴 𝘧𝘶𝘯; 𝘐 𝘨𝘰𝘵 𝘵𝘰 𝘮𝘦𝘦𝘵 𝘔𝘦𝘢𝘵 𝘓𝘰𝘢𝘧 𝘵𝘩𝘢𝘵 𝘯𝘪𝘨𝘩𝘵.”
Brian: “Ah, shit. I was downstairs doing the while pictures and press thing when Meat Loaf made his apppearance. I was very disappointed about that. Where are you?”

𝘞𝘪𝘭: “𝘐 𝘢𝘮 𝘪𝘯 𝘢 𝘱𝘢𝘳𝘬𝘪𝘯𝘨 𝘭𝘰𝘵 𝘪𝘯 𝘗𝘦𝘯𝘴𝘢𝘤𝘰𝘭𝘢, 𝘍𝘭𝘰𝘳𝘪𝘥𝘢.”
Brian: “Okay – I think I'm in a studio apartment opposite the Chelsea Hotel in New York City.”

𝘞𝘪𝘭: “𝘛𝘩𝘦 𝘊𝘩𝘦𝘭𝘴𝘦𝘢 𝘏𝘰𝘵𝘦𝘭. 𝘛𝘩𝘢𝘵 𝘱𝘭𝘢𝘤𝘦 𝘪𝘴 𝘢𝘮𝘢𝘻𝘪𝘯𝘨.” 

Brian: “Yeah, it's kinda funky.”

𝘞𝘪𝘭: “𝘚𝘰, 𝘺𝘦𝘢𝘩, 𝘸𝘦 𝘮𝘦𝘵 𝘢𝘵 𝘵𝘩𝘦 𝘒𝘦𝘳𝘳𝘢𝘯𝘨! 𝘈𝘸𝘢𝘳𝘥𝘴, 𝘢𝘯𝘥 𝘐 𝘱𝘳𝘰𝘣𝘢𝘣𝘭𝘺 𝘨𝘦𝘦𝘬𝘦𝘥 𝘰𝘶𝘵 𝘰𝘯 𝘺𝘰𝘶 𝘢 𝘭𝘪𝘵𝘵𝘭𝘦 𝘣𝘪𝘵...”
Brian: “No man, you were buzzing. You were on a high from getting your award, so it's a good vibe.”

𝘞𝘪𝘭: “𝘏𝘰𝘸'𝘥 𝘺𝘰𝘶𝘳 𝘵𝘰𝘶𝘳 𝘸𝘪𝘵𝘩 𝘚𝘩𝘦 𝘞𝘢𝘯𝘵𝘴 𝘙𝘦𝘷𝘦𝘯𝘨𝘦 𝘨𝘰?”
Brian: “It went really, really well. Reaqlly good. It's taken about ten years but I think America's finally waking up on us, so, I think we're going to come back and tour some more [in 2007].”

𝘞𝘪𝘭: “𝘞𝘦'𝘳𝘦 𝘧𝘳𝘰𝘮 𝘚𝘦𝘢𝘵𝘵𝘭𝘦 𝘢𝘯𝘥 𝘸𝘩𝘦𝘯 𝘺𝘰𝘶 𝘱𝘭𝘢𝘺𝘦𝘥 𝘵𝘩𝘦𝘳𝘦, 𝘺𝘰𝘶 𝘱𝘭𝘢𝘺𝘦𝘥 𝘪𝘯 𝘰𝘯𝘦 𝘰𝘧 𝘮𝘺 𝘧𝘢𝘷𝘰𝘶𝘳𝘪𝘵𝘦 𝘷𝘦𝘯𝘶𝘦𝘴, 𝘵𝘩𝘦 𝘚𝘩𝘰𝘸𝘣𝘰𝘹.”
Brian: “Yeah, I remember that.”

Photo credit unknown

𝘞𝘪𝘭: “𝘠𝘰𝘶 𝘱𝘭𝘢𝘺𝘦𝘥 𝘵𝘩𝘦𝘳𝘦 𝘧𝘰𝘶𝘳 𝘥𝘢𝘺𝘴 𝘣𝘦𝘧𝘰𝘳𝘦 𝘸𝘦 𝘱𝘭𝘢𝘺𝘦𝘥; 𝘸𝘦 𝘸𝘦𝘳𝘦 𝘰𝘯 𝘵𝘰𝘶𝘳 𝘢𝘵 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘵𝘪𝘮𝘦. 𝘚𝘰, 𝘸𝘦 𝘸𝘦𝘳𝘦 𝘭𝘪𝘬𝘦 '𝘍𝘶𝘤𝘬!'”
Brian: “Yeah, that was kind of crazy. It was around Halloween, and there were people in the audience dressed as Jesus and penises and things like that. It was fun. Jesus showed up with a nurse, actually. And this other guy was just walking around like a hard-on all night. You know, bumping into people and rubbing himself up against people. [laughs] It was a really good vibe, actually.”

𝘞𝘪𝘭: “𝘐𝘵 𝘴𝘦𝘦𝘮𝘴 𝘺𝘰𝘶 𝘨𝘶𝘺𝘴 𝘩𝘢𝘷𝘦 𝘩𝘢𝘥 𝘢 𝘴𝘵𝘦𝘢𝘥𝘺 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘴𝘤𝘩𝘦𝘥𝘶𝘭𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘱𝘢𝘴𝘵 𝘵𝘦𝘯 𝘺𝘦𝘢𝘳𝘴. 𝘈𝘣𝘰𝘶𝘵 𝘦𝘷𝘦𝘳𝘺 𝘵𝘸𝘰 𝘰𝘳 𝘵𝘩𝘳𝘦𝘦 𝘺𝘦𝘢𝘳𝘴 𝘢 𝘯𝘦𝘸 𝘢𝘭𝘣𝘶𝘮 𝘤𝘰𝘮𝘦𝘴 𝘰𝘶𝘵. 𝘋𝘰 𝘺𝘰𝘶 𝘦𝘷𝘦𝘳 𝘧𝘪𝘯𝘥 𝘪𝘵 𝘥𝘪𝘧𝘧𝘪𝘤𝘶𝘭𝘵 𝘵𝘰 𝘣𝘦 𝘪𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘧𝘰𝘳 𝘴𝘰𝘯𝘨𝘴 𝘰𝘳 𝘭𝘺𝘳𝘪𝘤𝘴?”
Brian: “Not really, because we're the kind of band that seems to be in a continual state of writing. Stefan and I, we tinker with ideas by ourselves a lot, but we usually kind of take advantage bof the fact that we get bored of our songs quite quickly. We take advantage of the fact that we got a big PA system behind us at soundchecks, so we just kind of jam a lot – new musocal ideas come out of that quite organically. It normally starts happening six months into a tour. You know, when the songs on the new album aren't as fresh as they were for the first six months. And I think we haven't made the decision about what the Placebo sound should be and what a Placebo song is. If we write it and we like it and we have an emotional connection with it – regardless of what the instrumentation might be – it's still Placebo. It leaves us with a great deal of possibilities.”

𝘞𝘪𝘭: “𝘞𝘦𝘭𝘭, '𝘔𝘦𝘥𝘴' 𝘪𝘴 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 𝘰𝘯𝘦 𝘰𝘧 𝘮𝘺 𝘵𝘰𝘱 𝘧𝘪𝘷𝘦 𝘧𝘢𝘷𝘰𝘶𝘳𝘪𝘵𝘦 𝘢𝘭𝘣𝘶𝘮𝘴 𝘰𝘧 𝘢𝘭𝘭 𝘵𝘪𝘮𝘦, 𝘴𝘰 𝘵𝘩𝘢𝘯𝘬𝘴 𝘢 𝘭𝘰𝘵 𝘧𝘰𝘳 𝘵𝘩𝘢𝘵.”
Brian: “Well, thank you.”

𝘞𝘪𝘭: “𝘞𝘦𝘭𝘭, '𝘔𝘦𝘥𝘴' 𝘪𝘴 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 𝘰𝘯𝘦 𝘰𝘧 𝘮𝘺 𝘵𝘰𝘱 𝘧𝘪𝘷𝘦 𝘧𝘢𝘷𝘰𝘶𝘳𝘪𝘵𝘦 𝘢𝘭𝘣𝘶𝘮𝘴 𝘰𝘧 𝘢𝘭𝘭 𝘵𝘪𝘮𝘦, 𝘴𝘰 𝘵𝘩𝘢𝘯𝘬𝘴 𝘢 𝘭𝘰𝘵 𝘧𝘰𝘳 𝘵𝘩𝘢𝘵.”
Brian: “Don't be, man. Don't be. Before I was famous and I saw celebrities, I just kind of thought to myself, “Well, there's absolutely nothing I could say to them that would actually be interesting, so I'll just leave them with their own personal space”. Anything I could say they've probably heard 100 times before. Because of that, I can't really relate to that directly, but most of the time it's quite charming. If we go to Mexico we get treated like The Beatles. It's like us in 'A hard day's night' running down the street. [Wil laughs] In France, I kind of have to walk around with security – which I find extremely amusing – but I do everything I can to not appear like some kind of showoff about it because in all honesty, I would rather that I didn't have to.”

Photo credit: Nadav Kander

𝘞𝘪𝘭: “𝘚𝘰𝘮𝘦𝘵𝘪𝘮𝘦𝘴 𝘪𝘵'𝘴 𝘸𝘦𝘪𝘳𝘥 𝘧𝘰𝘳 𝘮𝘦 𝘸𝘩𝘦𝘯 𝘐 𝘨𝘰𝘵 𝘳𝘦𝘤𝘰𝘨𝘯𝘪𝘻𝘦𝘥 𝘪𝘯 𝘓𝘰𝘯𝘥𝘰𝘯.”
Brian: “I'm in New York right now, and this time is the first time that I've ever been recognized by people here. In the USA, it's still kind of a healthy level for me. I find that over here people are much easier to talk to and are much more polite. They have a tendence to respect your privacy and your personal space as far as fans are concerned. I think you have to understand that for these people who approach you, it's something really special, and you have to do your best not to get cynical about it. But they have to understand that you could also be having a bad day and that you may not want to apend your time with them. You might be living in your own head for that day, or you've been dumped, or somebody in your family is very ill, or you haven't taken your meds by accident and you might just not be ready for it.”

𝘞𝘪𝘭: “𝘐𝘵 𝘴𝘦𝘦𝘮𝘴 𝘭𝘪𝘬𝘦 𝘰𝘷𝘦𝘳𝘴𝘦𝘢𝘴 𝘪𝘵'𝘴 𝘢 𝘭𝘰𝘵 𝘮𝘰𝘳𝘦 𝘧𝘢𝘯𝘢𝘵𝘪𝘤𝘢𝘭. 𝘐𝘧 𝘺𝘰𝘶'𝘳𝘦 𝘸𝘢𝘭𝘬𝘪𝘯𝘨 𝘥𝘰𝘸𝘯 𝘢 𝘴𝘵𝘳𝘦𝘦𝘵 𝘴𝘰𝘮𝘦𝘰𝘯𝘦 𝘸𝘪𝘭𝘭 𝘫𝘶𝘴𝘵 𝘴𝘤𝘳𝘦𝘢𝘮 𝘺𝘰𝘶𝘳 𝘯𝘢𝘮𝘦 𝘢𝘯𝘥 𝘳𝘶𝘯 𝘶𝘱 𝘵𝘰 𝘺𝘰𝘶, 𝘸𝘩𝘦𝘳𝘦𝘢𝘴, 𝘭𝘪𝘬𝘦 𝘪𝘯 𝘈𝘮𝘦𝘳𝘪𝘤𝘢, 𝘪𝘵'𝘴 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘵𝘩𝘦𝘺'𝘭𝘭 𝘴𝘤𝘳𝘦𝘢𝘮 𝘺𝘰𝘶𝘳 𝘯𝘢𝘮𝘦 𝘢𝘯𝘥 𝘵𝘩𝘦𝘯 𝘸𝘢𝘷𝘦. 𝘈𝘯𝘥 𝘵𝘩𝘦𝘯, 𝘪𝘧 𝘺𝘰𝘶 𝘴𝘢𝘺 “𝘊𝘰𝘮𝘦 𝘰𝘷𝘦𝘳”, 𝘵𝘩𝘦𝘺'𝘭𝘭 𝘵𝘢𝘭𝘬 𝘵𝘰 𝘺𝘰𝘶. 𝘉𝘶𝘵 𝘪𝘵'𝘴 𝘢 𝘭𝘪𝘵𝘵𝘭𝘦 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵.”
Brian: “Yeah, that's been my experience as well. I don't know why it's like that. I really don't.”

𝘞𝘪𝘭: “𝘞𝘩𝘢𝘵'𝘴 𝘺𝘰𝘶 𝘧𝘢𝘷𝘰𝘶𝘳𝘪𝘵𝘦 𝘱𝘭𝘢𝘤𝘦 𝘵𝘰 𝘵𝘰𝘶𝘳?”
Brian: “Latin America is fantastic. Have you been there yet?”

𝘞𝘪𝘭: “𝘕𝘰, 𝘸𝘦 𝘩𝘢𝘷𝘦𝘯'𝘵.”
Brian: “Oh, you gotta go! It's the craziest audiences. The most generous, demonstrative audiences. We've played in Mexico in front of 17.000 people, and honestly, I felt like we were The Beatles playing the Shea Stadium. All I could fucking hear was the snare drum and my vocals. I couldn't hear anything else apart from the 17.000 crazy Mexicans screaming.”

 
𝘞𝘪𝘭: “𝘞𝘰𝘸, 𝘳𝘦𝘢𝘭𝘭𝘺. 𝘞𝘦'𝘳𝘦 𝘴𝘰 𝘯𝘦𝘸 𝘵𝘰 𝘵𝘩𝘪𝘴, 𝘸𝘦'𝘷𝘦 𝘰𝘯𝘭𝘺 𝘣𝘦𝘦𝘯 𝘢𝘣𝘭𝘦 𝘵𝘰 𝘵𝘰𝘶𝘳 𝘱𝘭𝘢𝘤𝘦𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘢𝘳𝘦 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳 𝘸𝘪𝘵𝘩 – 𝘭𝘪𝘬𝘦 𝘵𝘩𝘦 𝘜.𝘚. 𝘰𝘧 𝘤𝘰𝘶𝘳𝘴𝘦. 𝘉𝘶𝘵 𝘵𝘰 𝘨𝘰 𝘵𝘰 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘭𝘪𝘬𝘦 𝘓𝘢𝘵𝘪𝘯 𝘈𝘮𝘦𝘳𝘪𝘤𝘢 𝘰𝘳 𝘍𝘳𝘢𝘯𝘤𝘦 𝘫𝘶𝘴𝘵 𝘴𝘦𝘦𝘮𝘴 𝘭𝘪𝘬𝘦 “𝘞𝘰𝘸, 𝘱𝘦𝘰𝘱𝘭𝘦 𝘵𝘰𝘶𝘳 𝘵𝘩𝘦𝘳𝘦?” 𝘐𝘵 𝘫𝘶𝘴𝘵 𝘴𝘦𝘦𝘮𝘴 𝘤𝘳𝘢𝘻𝘺. 𝘐 𝘥𝘰𝘯'𝘵 𝘦𝘷𝘦𝘯 𝘬𝘯𝘰𝘸 𝘪𝘧 𝘱𝘦𝘰𝘱𝘭𝘦 𝘤𝘢𝘯 𝘣𝘶𝘺 𝘰𝘶𝘳 𝘳𝘦𝘤𝘰𝘳𝘥𝘴 𝘵𝘩𝘦𝘳𝘦.”
Brian: “That's starting to matter a little bit less and less. People will have heard of you because the access to music is so much simpler and more democratic these days. People will have heard of you, and you'll be surprised where you'll have an audience. WE were always surprised when we'd go to Russia or somewhere Eastern Europe. We recently went to China and Korea. You think to yourself “Fucking nobody is going to have heard of us.” But there are people there who are just obsessed. I'd say go to places even if it's not financially viable – even if the tour costs you money – because there will be fans there and what you're doing by making an effort to go to these far-flung places, you're really capturing the hearts of those people who sometimes are quite starved for music and starved for bands. So you end up with kind of the most generous and crazy crowds because of that. Bands who have lasted the test of time are bands who have made that effort to tour. To become an extremely good live band – considering that 39 out of 40 songs are downloaded off the internet illegally – the ones who rely solely on record sales may not survive. Sometimes I wonder if that's a good thing or a bad thing, but one thing it's doing is sorting out the men from the boys, as far as live performances are concerned. [Pauses] Oh, something weird just happened in this apartment that made a very strange noise...”

Photo credit unknown

𝘞𝘪𝘭: “[𝘓𝘢𝘶𝘨𝘩𝘴] 𝘋𝘰𝘯'𝘵 𝘸𝘰𝘳𝘳𝘺 𝘢𝘣𝘰𝘶𝘵 𝘪𝘵.”
Brian: “Well, I kind of have to worry about it. There's a bike suspended from the ceiling and it's dangerously close to the bed. You know, the size of these New York studio apartments aren't really...”

𝘞𝘪𝘭: “𝘐𝘵'𝘴 𝘵𝘩𝘦 𝘨𝘩𝘰𝘴𝘵 𝘰𝘧 𝘕𝘢𝘯𝘤𝘺 𝘚𝘱𝘶𝘯𝘨𝘦𝘯 𝘸𝘢𝘭𝘬𝘪𝘯𝘨 𝘢𝘤𝘳𝘰𝘴𝘴 𝘵𝘩𝘦 𝘴𝘵𝘳𝘦𝘦𝘵 𝘪𝘯𝘵𝘰 𝘺𝘰𝘶𝘳 𝘩𝘰𝘵𝘦𝘭.”
Brian: “Yeah, that's it. Even in deathshe's still an imposition.”

𝘞𝘪𝘭: “𝘠𝘰𝘶 𝘴𝘢𝘪𝘥 𝘦𝘢𝘳𝘭𝘪𝘦𝘳 𝘵𝘩𝘢𝘵 𝘺𝘰𝘶 𝘵𝘩𝘪𝘯𝘬 𝘈𝘮𝘦𝘳𝘪𝘤𝘢 𝘪𝘴 𝘧𝘪𝘯𝘢𝘭𝘭𝘺 𝘸𝘢𝘬𝘪𝘯𝘨 𝘶𝘱 [𝘵𝘰 𝘺𝘰𝘶𝘳 𝘮𝘶𝘴𝘪𝘤] 𝘢𝘧𝘵𝘦𝘳 𝘵𝘦𝘯 𝘺𝘦𝘢𝘳𝘴. 𝘐𝘴 𝘪𝘵 𝘦𝘷𝘦𝘳 𝘧𝘳𝘶𝘴𝘵𝘳𝘢𝘵𝘪𝘯𝘨 𝘵𝘰 𝘨𝘰 𝘧𝘳𝘰𝘮 𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘩𝘶𝘨𝘦 𝘴𝘵𝘢𝘥𝘪𝘶𝘮𝘴 𝘢𝘯𝘥 𝘢𝘳𝘦𝘯𝘢𝘴 𝘵𝘰 𝘰𝘵𝘩𝘦𝘳 𝘤𝘰𝘶𝘯𝘵𝘳𝘪𝘦𝘴, 𝘣𝘶𝘵 𝘵𝘩𝘦𝘯 𝘸𝘩𝘦𝘯 𝘺𝘰𝘶 𝘤𝘰𝘮𝘦 𝘵𝘰 𝘕𝘰𝘳𝘵𝘩 𝘈𝘮𝘦𝘳𝘪𝘤𝘢, 𝘪𝘵'𝘴 𝘢 𝘭𝘰𝘵 𝘴𝘮𝘢𝘭𝘭𝘦𝘳? 𝘋𝘰 𝘺𝘰𝘶 𝘧𝘦𝘦𝘭 𝘭𝘪𝘬𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢 𝘪𝘴 𝘵𝘩𝘦 𝘧𝘪𝘯𝘢𝘭 𝘱𝘭𝘢𝘤𝘦 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘵𝘰 𝘤𝘰𝘯𝘲𝘶𝘦𝘳?”
Brian: “Well, neither really. I say this without any false modesty: I think it's really, really good for our egos. We really enjoy coming to the States, having to work and not resting on our laurels. I think for a band who have achieved a lot of success over ten years, it's good to have that. It keeps [us] hungry and it reminds [us] that there's always work to do and that you have to put an effort into it. We've got a really good work ethic anyway, but it can happen to anybody, to begin to get complacent. This stops it from happening and also keeps us on our toes and flexible, you know?”

𝘞𝘪𝘭: “𝘐 𝘧𝘦𝘦𝘭 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘸𝘢𝘺. 𝘞𝘦 𝘢𝘳𝘦 𝘯𝘰𝘵 𝘢𝘴 𝘣𝘪𝘨, 𝘣𝘶𝘵 𝘸𝘩𝘦𝘯 𝘸𝘦 𝘱𝘭𝘢𝘺𝘦𝘥 𝘪𝘯 𝘓𝘰𝘯𝘥𝘰𝘯, 𝘸𝘦 𝘩𝘦𝘢𝘥𝘭𝘪𝘯𝘦𝘥 𝘵𝘩𝘦 𝘈𝘴𝘵𝘰𝘳𝘪𝘢 𝘵𝘩𝘦𝘳𝘦, 𝘸𝘩𝘪𝘤𝘩 𝘪𝘴 𝘪𝘯𝘤𝘳𝘦𝘥𝘪𝘣𝘭𝘦. 𝘛𝘩𝘦 𝘯𝘦𝘹𝘵 𝘥𝘢𝘺, 𝘸𝘦 𝘸𝘦𝘯𝘵 𝘵𝘰 𝘎𝘦𝘳𝘮𝘢𝘯𝘺 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦 𝘴𝘩𝘰𝘸𝘴 𝘢𝘳𝘦 100, 200 𝘱𝘦𝘰𝘱𝘭𝘦. 𝘈𝘵 𝘧𝘪𝘳𝘴𝘵, 𝘺𝘰𝘶'𝘳𝘦 𝘳𝘦𝘢𝘭𝘭𝘺 “𝘖𝘩, 𝘧𝘶𝘤𝘬. 𝘞𝘩𝘢𝘵 𝘢𝘳𝘦 𝘸𝘦 𝘥𝘰𝘪𝘯𝘨 𝘸𝘳𝘰𝘯𝘨?” 𝘉𝘶𝘵 𝘪𝘵 𝘳𝘦𝘢𝘭𝘭𝘺 𝘩𝘦𝘭𝘱𝘴 𝘪𝘯 𝘬𝘦𝘦𝘱𝘪𝘯𝘨 𝘺𝘰𝘶𝘳 𝘦𝘨𝘰 𝘥𝘰𝘸𝘯 𝘢𝘯𝘥 𝘺𝘰𝘶𝘳 𝘸𝘰𝘳𝘬 𝘦𝘵𝘩𝘪𝘤 𝘶𝘱.”
Brian: “Absolutely. It's a good thing because being in a band, it's very easy to let your ego run away with itself. The system keeps it in check.”
(Alternative Press, "Wil Francis & Brian Molko", June 2007)

Here's William's cover version, it was released on his first non-electronic album “Skeleton Strings”. I also added a William Control track, so you know how he usually sounds. Last but not least there's a song recorded at a live show .Check out Wil's cool micro tricks. 

𝗪𝗜𝗟𝗟𝗜𝗔𝗠 𝗖𝗢𝗡𝗧𝗥𝗢𝗟 – 𝗘𝗩𝗘𝗥𝗬 𝗬𝗢𝗨 𝗘𝗩𝗘𝗥𝗬 𝗠𝗘
🎵 https://bit.ly/2KIPxcm 🎵

𝗪𝗜𝗟𝗟𝗜𝗔𝗠 𝗖𝗢𝗡𝗧𝗥𝗢𝗟 – 𝗔𝗡𝗔𝗟𝗢𝗚 𝗙𝗟𝗘𝗦𝗛 𝗜𝗡 𝗔 𝗗𝗜𝗚𝗜𝗧𝗔𝗟 𝗪𝗢𝗥𝗟𝗗
🎵 https://bit.ly/3hlwiED 🎵

𝗪𝗜𝗟𝗟𝗜𝗔𝗠 𝗖𝗢𝗡𝗧𝗥𝗢𝗟 – 𝗕𝗘𝗔𝗨𝗧𝗜𝗙𝗨𝗟 𝗟𝗢𝗦𝗘𝗥
🎵 https://bit.ly/2TDr4v1 🎵

Post by Silke