📜 ℙ𝕃𝔸ℂ𝔼𝔹𝕆'𝕊 𝕃𝕐ℝ𝕀ℂ𝕊 📜

🔸 Beyond the melodies, Placebo's songs are full of provocative, romantic, ambiguous, melancholic, subversive, tender, hopeful or anguished lyrics. The images and metaphors are often inspired by biblical symbols and figures, or by Brian's personal experiences, literature or current events. All this is conveyed in a poetry with tormented, captivating, ambivalent contours. As far as the writing is concerned, there is no denying that Brian has a certain talent and a certain skill ! All this undoubtedly contributes to the success the band has had throughout its career.

Brian has often said that writing requires discipline but is mostly cathartic for him.

🔸 Today, I want to share with you the Placebo lyrics that, for me, are the most significant, both in their turn of phrase and in their meaning.

Photo credit: Mads Perch / Edit by Laetitia

🎸 𝙏𝙃𝙀 𝙊𝙉𝙇𝙔 𝙏𝙃𝙄𝙉𝙂 𝙔𝙊𝙐 𝘾𝘼𝙉 𝙍𝙀𝙇𝙔 𝙊𝙉 𝙄𝙎 𝙏𝙃𝘼𝙏 𝙔𝙊𝙐 𝘾𝘼𝙉'𝙏 𝙍𝙀𝙇𝙔 𝙊𝙉 𝘼𝙉𝙔𝙏𝙃𝙄𝙉𝙂 🔶 𝗣𝗟𝗔𝗦𝗧𝗜𝗖𝗜𝗡𝗘

🔸 These are by far my favourite lyrics because they represent the naked truth. Relying only on yourself to achieve what you want and be what you want. I always have it in the back of my mind. It is also a way to protect myself from the various abuses (serious or not) that I might encounter in my life.

💬 It's one of Placebo's classic themes of what we explore. It's a song about individuality [...] and the metaphor of Plasticine as Play dough is, do not allow yourself to be moulded by society, find your own voice. Don't forget to be the way you are, because it's natural. Don't feel that simply because you do not conform to an archetype that there is essentially something wrong with you. Vive la différence !!
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - 𝙸𝚜𝚜𝚞𝚎 #𝟷𝟻 (𝙰𝚙𝚛𝚒𝚕 - 𝙹𝚞𝚗𝚎 𝟸00𝟹)

🎵 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐏𝐥𝐚𝐬𝐭𝐢𝐜𝐢𝐧𝐞 (𝐋𝐨𝐮𝐧𝐠𝐞 𝐕𝐞𝐫𝐬𝐢𝐨𝐧) 🎵
🎥 https://bit.ly/3SGY275


🎸 𝙏𝙃𝙀 𝙒𝙊𝙍𝙇𝘿 𝙄𝙎 𝙍𝙐𝙉 𝘽𝙔 𝘾𝙇𝙊𝙒𝙉𝙎 𝙒𝙄𝙏𝙃 𝙏𝙍𝙄𝙂𝙂𝙀𝙍 𝙃𝘼𝙋𝙋𝙔 𝙃𝘼𝙉𝘿𝙎 🔶 𝗧𝗥𝗜𝗚𝗚𝗘𝗥 𝗛𝗔𝗣𝗣𝗬 𝗛𝗔𝗡𝗗𝗦

🔸 Although this song was inspired by the war in Iraq and the title inspired by a friend of Brian's, I think that the more time passes, the more I realise that this sentence is not current, but a reality that has lasted for centuries. Times change but the methods remain the same.

💬 Naturally the subject turned to the war in Iraq, which I had taken to the streets of London to protest against, and we all began to get angry. In his disarmingly heavy italian accent, Juri turned to me and said: "the world is run by clowns with trigger happy hands." A light went off in my head. The next morning as i sat on the Eurostar, nursing a hangover as heavy as a loaded gun, a wave of inspiration came over me, as it does, and I began to write, the lyrics to what was to become a song vomited themselves forward fully formed and remain unchanged to this day.

✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙱𝚊𝚝𝚝𝚕𝚎 𝙵𝚘𝚛 𝚃𝚑𝚎 𝚂𝚞𝚗 𝚁𝚎𝚍𝚞𝚡 𝙴𝚍𝚒𝚝𝚒𝚘𝚗 - 𝟸𝟶𝟷𝟶.

🎵𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐓𝐫𝐢𝐠𝐠𝐞𝐫 𝐇𝐚𝐩𝐩𝐲 𝐇𝐚𝐧𝐝𝐬 (𝐋𝐢𝐯𝐞 𝐀𝐭 𝐒𝐨𝐧𝐢𝐬𝐩𝐡𝐞𝐫𝐞 𝟐𝟎𝟏𝟎) 🎵

🎥 https://bit.ly/3dmwJig

🔸 In response to these lyrics, I would add behind those of 𝐈.𝐊.𝐘.𝐖.𝐒: 𝑾𝒊𝒕𝒉 𝒂𝒍𝒍 𝒕𝒉𝒆 𝒐𝒓𝒑𝒉𝒂𝒏𝒔 𝒚𝒐𝒖 𝒄𝒓𝒆𝒂𝒕𝒆 / 𝑰 𝒅𝒐𝒏'𝒕 𝒕𝒉𝒊𝒏𝒌 𝒚𝒐𝒖𝒓 𝒎𝒂𝒌𝒆𝒓 𝒘𝒊𝒍𝒍 𝒇𝒐𝒓𝒈𝒊𝒗𝒆

🔸 Being trigger-happy has terrible, irreversible consequences, but those in their "𝑖𝑣𝑜𝑟𝑦 𝑡𝑜𝑤𝑒𝑟𝑠" don't care...

🎵𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐈 𝐊𝐧𝐨𝐰 𝐖𝐡𝐞𝐫𝐞 𝐘𝐨𝐮 𝐋𝐢𝐯𝐞 🎵

🎥 https://bit.ly/3SDU4fP

Photo credit: Jamie Beeden

🎸 𝙒𝙀 𝘾𝘼𝙉 𝘽𝙐𝙄𝙇𝘿 𝘼 𝙉𝙀𝙒 𝙏𝙊𝙈𝙊𝙍𝙍𝙊𝙒 𝙏𝙊𝘿𝘼𝙔 🔶 𝗦𝗣𝗘𝗔𝗞 𝗜𝗡 𝗧𝗢𝗡𝗚𝗨𝗘𝗦

🔸 Brian's favourite song from the Battle For The Sun album, these lyrics are a breath of fresh air in Placebo's entire repertoire, which tends to point to the flaws and foibles of the human spirit, as well as the malaise and unhappiness. These lyrics give me hope and confidence in the human race, but also give me courage on a more personal level, which would make me "𝑠ℎ𝑜𝑢𝑡 𝑡ℎ𝑎𝑡 𝐼 𝑎𝑚 𝑎𝑙𝑖𝑣𝑒" 😉

📢 𝑾𝒉𝒂𝒕'𝒔 𝒚𝒐𝒖𝒓 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝒔𝒐𝒏𝒈 𝒐𝒏 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎?

💬 Speak In Tongues. It starts off sounding like cocktail hour at the mental hospital, and half way through it becomes this really big stadium anthem. The hook of that song is the phrase that goes, 'we can build a better tomorrow today', and I think that kind of embodies the attitude behind this record.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙾𝙺! 𝙼𝚊𝚐𝚊𝚣𝚒𝚗𝚎 𝙰𝚞𝚜𝚝𝚛𝚊𝚕𝚒𝚊 - 𝙹𝚞𝚗𝚎 𝟸00𝟿

💬 On this one it would be ‘Speak in Tongues’ because of the refrain ‘We can build a new tomorrow today’, which is essentially what the album is about: hope for a better tomorrow, for yourself.”
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙷𝚘𝚝 𝙿𝚛𝚎𝚜𝚜 - 𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟸00𝟿

💬 I also really like the line: “We can build a new tomorrow, today,” from ‘Speak In Tongues’. I sincerely believe it’s a call to arms to build a more tolerant future. But the change has to start within ourselves first; we all have the choice to live our lives with more compassion and kindness. I see it as karma – the more you give selflessly, the more comes back your way.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙿𝚊𝚌𝚑𝚊 𝙼𝚊𝚐𝚊𝚣𝚒𝚗𝚎 - 𝚂𝚎𝚙𝚝𝚎𝚖𝚋𝚎𝚛 𝟺, 𝟸0𝟷𝟺

Photo credit: Pat Pope

🎸 𝙒𝙀𝙇𝙇 𝙏𝙃𝙀 𝙋𝙍𝙄𝙀𝙎𝙏 𝙄𝙎 𝘼𝙏 𝙏𝙃𝙀 𝙋𝙐𝙇𝙋𝙄𝙏 𝙏𝙀𝙇𝙇𝙄𝙉𝙂 𝙈𝙀 𝙄'𝙈 𝙒𝙍𝙊𝙉𝙂 𝙏𝙀𝙇𝙇𝙄𝙉𝙂 𝙈𝙀 𝙄'𝙈 𝙎𝙄𝘾𝙆𝙀𝙉𝙄𝙉𝙂 /𝙏𝙊 𝘽𝙀𝙇𝙄𝙀𝙑𝙀 𝙃𝙄𝙈 𝙄𝙎 𝙏𝙊 𝙁𝙊𝙍𝙁𝘼𝙄𝙏 𝙀𝙑𝙀𝙍𝙔𝙏𝙃𝙄𝙉𝙂 𝙄 𝘼𝙈 𝙀𝙑𝙀𝙍𝙔𝙏𝙃𝙄𝙉𝙂 𝙄'𝙇𝙇 𝙀𝙑𝙀𝙍 𝘽𝙀 🔶 𝗞𝗔𝗡𝗚𝗔𝗥𝗢𝗢 𝗗𝗜𝗘𝗗

🔸 A bit like Plasticine later on, these verses are a shout for independence and individuality. To be yourself without worrying about what others want you to be, to be yourself and to live your life unaffected by how society might look at you. When Brian said that Placebo is a band for outsiders by outsiders, I think these words are totally appropriate. It is society that makes people outsiders, not the other way around.

💬 Placebo is music for outsiders, by outsiders and our gigs are like conventions of outcasts, which is cool.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘

🎵𝐏𝐋𝐀𝐂𝐄𝐁𝐎 - 𝐊𝐚𝐧𝐠𝐚𝐫𝐨𝐨 𝐃𝐢𝐞𝐝 🎵
🎥 https://bit.ly/3dnuCe3


🎸 𝘼 𝙃𝙐𝙂 𝙄𝙎 𝙅𝙐𝙎𝙏 𝘼𝙉𝙊𝙏𝙃𝙀𝙍 𝙒𝘼𝙔 𝙊𝙁 𝙃𝙄𝘿𝙄𝙉𝙂 𝙔𝙊𝙐𝙍 𝙁𝘼𝘾𝙀 🔶 𝗛𝗨𝗚𝗭

🔸 I have to admit, these lyrics are some of my favourites as they were inspired by the Doctor Who series, and being a Whovian myself, the reference jumped out at me on first listen.

🎬 𝐓𝐡𝐞 𝐃𝐨𝐜𝐭𝐨𝐫 𝐡𝐮𝐠𝐠𝐢𝐧𝐠 𝐡𝐢𝐬 𝐜𝐨𝐦𝐩𝐚𝐧𝐢𝐨𝐧 𝐂𝐥𝐚𝐫𝐚 🎬
🎥 https://bit.ly/3zRxvLX

Photo credit: Alfred Steffen

🔸 But that's not the only reason... I must say that this is a technique I have used a lot in my life. When tears come to your eyes, there's nothing better than sticking your head on the shoulder of the person you're talking to... Just in case it goes unnoticed ! 😅

💬 Hugz for me fulfills part of the remit of what I wanted to do on this record, I wanted to talk about a kind of self-loathing which I've kind of touched on a lot in the past, but in terms of the sonics with Hugz, it very much reflects my reaction to what we've done before, our last tour, our last single, our last album, Hugz kind of epitomises the sort of the sonic brutality that I wanted to kind of inhabit on this record. And the initial inspiration comes from Doctor Who because it's a line that Peter Capaldi says, when he's hugging his companion, she wants a hug and so he gives her a hug, but he says it's just a way of hiding your face. And the first time I saw that episode of Doctor Who, I just went, OK, thank you, you know, there we go that's just perfect. I'm going to make a song out of that. A hug is just another way of hiding your face. It's that kind of duality that's interesting for me, you know, an act which is meant to be intimate also, it's about hiding yourself."
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝚖𝚊𝚗𝚒𝚊𝚌𝚜𝚘𝚗𝚕𝚒𝚗𝚎.𝚌𝚘𝚖 - 𝟸𝟻.𝟶𝟹.𝟸𝟶𝟸𝟸.

🎵𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐇𝐮𝐠𝐳 🎵
🎥 https://bit.ly/3papbC2


🎸 𝘼𝙎 𝙔𝙊𝙐 𝙒𝘼𝙆𝙀 𝘿𝙊𝙀𝙎 𝙃𝙀 𝙎𝙈𝙊𝙏𝙃𝙀𝙍 𝙔𝙊𝙐 𝙄𝙉 𝙆𝙄𝙎𝙎𝙀𝙎 𝙇𝙊𝙉𝙂 𝘼𝙉𝘿 𝙏𝙍𝙐𝙀 ? 𝙙𝙊𝙀𝙎 𝙃𝙀 𝙀𝙑𝙀𝙉 𝙏𝙃𝙄𝙉𝙆 𝙏𝙊 𝘽𝙊𝙏𝙃𝙀𝙍 ? 🔶 𝗘𝗫𝗜𝗧 𝗪𝗢𝗨𝗡𝗗𝗦

🔸 I know a lot of fans love that song and I understand that because a lot of them have been in that situation of lack, anger, extreme sadness.

🔸 For me, this song was liberating to the point that it changed my life for the better. Those lyrics freed my mind from the evils that imprisoned it. Goodbye guilt. Welcome happiness ! The exact opposite effect of the song's theme.

📢 𝑨𝒃𝒚𝒔𝒎𝒂𝒍 𝒍𝒐𝒗𝒆 𝒂𝒍𝒔𝒐 𝒔𝒆𝒆𝒎𝒔 𝒕𝒐 𝒃𝒆 𝒕𝒉𝒆 𝒕𝒉𝒆𝒎𝒆 𝒊𝒏 "𝑬𝒙𝒊𝒕 𝑾𝒐𝒖𝒏𝒅𝒔".

💬 In "Exit Wounds" we have already arrived at the next step. Here someone has been abandoned and is thinking about whether he wants to go on living in general. People see the album title "Loud like Love" and think "Aha, all right, love songs." I would like to stress that this is not the case. Or that it is the case in a different way. Love, for me, is not just about the initial rush of infatuation and the blissful, cosy feeling of companionship. Love can also be very violent, brutal and insane. Love can destroy everything and everyone, not least yourself. The new songs undoubtedly contain more drama than optimism.
✔️ 𝙳𝚎𝚛𝚆𝚎𝚜𝚝𝚎𝚗 - 𝚂𝚎𝚙𝚝𝚎𝚖𝚋𝚎𝚛 𝟿,.𝟸0𝟷𝟹

🎵𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐄𝐱𝐢𝐭 𝐖𝐨𝐮𝐧𝐝𝐬 𝐥𝐢𝐯𝐞 𝐚𝐭 𝐏𝐚𝐫𝐢𝐬-𝐁𝐞𝐫𝐜𝐲 (𝟐𝟎𝟏𝟑) 🎵
🎥 https://bit.ly/3PeJ6KJ

 Photo credit: Gill Flett

🔸 I like very much this expression from 𝐴𝑛𝑑𝑒𝑟𝑠𝑒𝑛: "𝑾𝒉𝒆𝒓𝒆 𝒘𝒐𝒓𝒅𝒔 𝒇𝒂𝒊𝒍, 𝒎𝒖𝒔𝒊𝒄 𝒔𝒑𝒆𝒂𝒌𝒔". Placebo has often found the words I was missing. 💗

🔸 Many of their lyrics play an essential role in my life, sometimes being reminders or simply written in my life's story like a diary written by someone else.

🔸 There's also a commitment against dogma and world politics that Placebo appeals to. It's great to hear these kinds of words and ideas being circulated. Music and art are much more than entertainment or an external support to our inner self. 𝘐𝘵 𝘪𝘴 𝘢𝘭𝘴𝘰 𝘢 𝘤𝘢𝘭𝘭 𝘵𝘰 𝘢𝘯 𝘪𝘥𝘦𝘢𝘭.

Post by Laetitia


#Placebo #Placeboworld #PlaceboAnyway #PlaceboLyrics #Soulmates #BrianMolkoQuote #IKWYL #SpeakInTongues #TriggerHappyHands #KangarooDied #ExitWounds #Hugz #Plasticine #NeverLetMeGo #PlaceboDemo #PlaceboSongs #PlaceboQuotes #AndersenQuote #DoctorWho #Whovian

🎫 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐁𝐑𝐈𝐀𝐍 𝐀𝐁𝐎𝐔𝐓 𝐓𝐈𝐂𝐊𝐄𝐓𝐒 𝐓𝐎𝐔𝐓𝐈𝐍𝐆 𝐀𝐁𝐔𝐒𝐄 🎫

💫 As Placebo are touring with their stunning new album 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐, it's time for a reminder.

💫 In 2016, Placebo joined forces with the managers of Arctic Monkeys, One Direction, Mumford & Son and PJ Harvey to try and find a solution against online ticket touting, with the 𝑭𝒂𝒏𝑭𝒂𝒊𝒓 𝑨𝒍𝒍𝒊𝒂𝒏𝒄𝒆 𝒄𝒂𝒎𝒑𝒂𝒊𝒈𝒏.

Marco Vittur (Brian) / Unknown / Edit by Laetitia

💬 "𝐵𝑟𝑖𝑛𝑔𝑖𝑛𝑔 𝑡𝑜𝑔𝑒𝑡ℎ𝑒𝑟 𝑎 𝑤𝑖𝑑𝑒 𝑐𝑟𝑜𝑠𝑠-𝑠𝑒𝑐𝑡𝑖𝑜𝑛 𝑜𝑓 𝑡ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑎𝑛𝑑 𝑐𝑟𝑒𝑎𝑡𝑖𝑣𝑒 𝑐𝑜𝑚𝑚𝑢𝑛𝑖𝑡𝑦, 𝑤𝑒 𝑡𝑎𝑘𝑒 𝑎 𝑠𝑡𝑎𝑛𝑑 𝑎𝑔𝑎𝑖𝑛𝑠𝑡 𝑝𝑟𝑜𝑓𝑖𝑡𝑒𝑒𝑟𝑖𝑛𝑔 𝑖𝑛 𝑡ℎ𝑒 𝑠𝑒𝑐𝑜𝑛𝑑𝑎𝑟𝑦 𝑡𝑖𝑐𝑘𝑒𝑡𝑖𝑛𝑔 𝑚𝑎𝑟𝑘𝑒𝑡.

𝑂𝑢𝑟 𝑠𝑢𝑝𝑝𝑜𝑟𝑡𝑒𝑟𝑠 𝑝𝑟𝑜𝑚𝑜𝑡𝑒 𝑝𝑟𝑜-𝑐𝑜𝑛𝑠𝑢𝑚𝑒𝑟 𝑙𝑒𝑔𝑖𝑠𝑙𝑎𝑡𝑖𝑜𝑛, 𝑡𝑒𝑐ℎ𝑛𝑜𝑙𝑜𝑔𝑖𝑒𝑠 𝑎𝑛𝑑 𝑝𝑟𝑎𝑐𝑡𝑖𝑐𝑒𝑠, 𝑎𝑛𝑑 𝑎𝑖𝑚 𝑓𝑜𝑟 𝑚𝑜𝑟𝑒 𝑓𝑎𝑛𝑠 𝑡𝑜 𝑏𝑢𝑦 𝑎𝑛𝑑 𝑒𝑥𝑐ℎ𝑎𝑛𝑔𝑒 𝑡𝑖𝑐𝑘𝑒𝑡𝑠 𝑎𝑡 𝑓𝑎𝑐𝑒 𝑣𝑎𝑙𝑢𝑒 𝑝𝑟𝑖𝑐𝑒𝑠." This is what the FanFair Alliance website header says.

💫 𝗜𝗳 𝘆𝗼𝘂 𝘄𝗮𝗻𝘁 𝘁𝗼 𝗸𝗻𝗼𝘄 𝗺𝗼𝗿𝗲 𝗮𝗯𝗼𝘂𝘁 𝗙𝗮𝗻𝗙𝗮𝗶𝗿 𝗔𝗹𝗹𝗶𝗮𝗻𝗰𝗲:
http://fanfairalliance.org/

💫 Acting in the interests of fans, FanFair Alliance is fighting to ensure that concert tickets are not sold at exorbitant prices, whether through professionals or individuals.

💫 For Brian, it's all about making sure that fans and artists don't suffer at the hands of profiteers. and "𝑖𝑛𝑡𝑒𝑛𝑑 𝑡𝑜 𝑚𝑎𝑘𝑒 𝑎𝑠 𝑚𝑎𝑛𝑦 𝑝𝑒𝑜𝑝𝑙𝑒 𝑎𝑠 𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒 𝑎𝑤𝑎𝑟𝑒 𝑜𝑓 𝑡ℎ𝑒𝑖𝑟 𝑠𝑐𝑎𝑛𝑑𝑎𝑙𝑜𝑢𝑠 𝑏𝑒ℎ𝑎𝑣𝑖𝑜𝑢𝑟" he says.

💫 Brian is very eloquent in the following short interview. The welfare of everyone (artists and audience) is his driving force. The cause is noble and altruistic. Not surprising coming from Placebo 😊

Photo credit: Bastien Kolod 

◾ Over recent years the band have become increasingly frustrated with rampant online ticket touting, leading Brian to lend his support to the FanFair Alliance, a new initiative to curb the practice.

We grabbed five minutes with him at the FanFair launch to learn more... ◾

🔸 𝘼𝙨 𝙖𝙣 𝙖𝙧𝙩𝙞𝙨𝙩 𝙬𝙝𝙤’𝙨 𝙗𝙚𝙚𝙣 𝙥𝙡𝙖𝙮𝙞𝙣𝙜 𝙡𝙞𝙫𝙚 𝙛𝙤𝙧 𝙤𝙫𝙚𝙧 20 𝙮𝙚𝙖𝙧𝙨, 𝙝𝙤𝙬 𝙙𝙤 𝙮𝙤𝙪 𝙛𝙚𝙚𝙡 𝙖𝙗𝙤𝙪𝙩 𝙩𝙝𝙚 𝙜𝙧𝙤𝙬𝙩𝙝 𝙞𝙣 𝙨𝙚𝙘𝙤𝙣𝙙𝙖𝙧𝙮 𝙩𝙞𝙘𝙠𝙚𝙩𝙞𝙣𝙜 ?
I think the brazen profiteering of these corporations is absolutely scandalous. I can only speak for myself and my band – Placebo certainly do not want our fans to be victims of this unethical profiteering. It appears to be institutionalized, the laws against this aren’t enforced and music fans are unaware that they’re being ripped off by fat cats in suits.

🔸 𝙒𝙝𝙮 𝙖𝙧𝙚 𝙮𝙤𝙪 𝙝𝙚𝙧𝙚 𝙩𝙤𝙙𝙖𝙮 ?
To educate myself, to speak to other artists and try to get them involved in the campaign and to use whatever platform I have to spread the message.

Photo credit unknown

🔸 𝙃𝙤𝙬 𝙝𝙖𝙨 𝙩𝙝𝙞𝙨 𝙨𝙞𝙩𝙪𝙖𝙩𝙞𝙤𝙣 𝙖𝙛𝙛𝙚𝙘𝙩𝙚𝙙 𝙮𝙤𝙪𝙧 𝙗𝙖𝙣𝙙 𝙖𝙣𝙙 𝙮𝙤𝙪𝙧 𝙩𝙤𝙪𝙧𝙨 ?
It gets to a point where people in difficult economic times can’t afford to go to shows, so this practice impacts both the fans and the artists as well. Not solely on a financial level, but, as an artist, you want your venue to be filled with people having a good time. That’s what you live for. It’s the kind of energy that feeds your soul, it affects us that way.

This situation affects new bands too. If a ticket costs £30 but is offered on a secondary ticketing site for £60 and someone buys it, they won’t have the spare cash to spend £10 on seeing a smaller band. It makes it more difficult for up and coming artists.

🔸 𝘿𝙤 𝙮𝙤𝙪 𝙛𝙚𝙚𝙡 𝙥𝙤𝙬𝙚𝙧𝙡𝙚𝙨𝙨 𝙞𝙣 𝙖𝙡𝙡 𝙤𝙛 𝙩𝙝𝙞𝙨 ?
No, not at all. I think it’s just the beginning. I’m passionate about this and I intend to make as many people as possible aware of this scandalous behaviour. Hopefully this is a movement that can go global, eventually.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙿𝚁𝚂 𝚏𝚘𝚛 𝙼𝚞𝚜𝚒𝚌 - 𝙸𝚗𝚝𝚎𝚛𝚟𝚒𝚎𝚠 𝚋𝚢 𝙰𝚗𝚒𝚝𝚊 𝙰𝚠𝚋𝚒 (𝙹𝚞𝚕𝚢 𝟷𝟺, 𝟸0𝟷𝟼)

Photo credit: Bastien Kolod 

💠 𝗗𝗲𝗮𝗿 𝗦𝗼𝘂𝗹𝗺𝗮𝘁𝗲𝘀, 𝗰𝗼𝗻𝘀𝗶𝗱𝗲𝗿𝗲𝗶𝗻𝗴 𝘁𝗵𝗮𝘁 𝘁𝗵𝗶𝘀 𝗸𝗶𝗻𝗱 𝗼𝗳 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲 𝗶𝘀 𝘀𝗵𝗮𝗺𝗲𝗳𝘂𝗹, 𝗜 𝗵𝗼𝗽𝗲 𝘆𝗼𝘂 𝗵𝗮𝘃𝗲 𝗻𝗲𝘃𝗲𝗿 𝗯𝗲𝗲𝗻 𝗮 𝘃𝗶𝗰𝘁𝗶𝗺 𝗼𝗳 𝘁𝗵𝗶𝘀 𝗸𝗶𝗻𝗱 𝗼𝗳 𝗮𝗯𝘂𝘀𝗲... 🙏


🎵 Let's conclude with this absolutely breathtaking performance of 𝑬𝒙𝒊𝒕 𝑾𝒐𝒖𝒏𝒅𝒔 𝒍𝒊𝒗𝒆 𝒊𝒏 𝑷𝒂𝒓𝒊𝒔 𝒐𝒏 29 𝑵𝒐𝒗𝒆𝒎𝒃𝒆𝒓 2016 🎵 (𝘐𝘵 𝘨𝘪𝘷𝘦𝘴 𝘮𝘦 𝘴𝘩𝘪𝘷𝘦𝘳𝘴 𝘦𝘷𝘦𝘳𝘺 𝘵𝘪𝘮𝘦 💗 )
🎸 https://bit.ly/3P9RewS 🎸

Post by Laetitia

⭐𝔹𝕣𝕚𝕒𝕟 𝕄𝕠𝕝𝕜𝕠 𝕀𝕟𝕥𝕖𝕣𝕧𝕚𝕖𝕨, 𝕃𝕖𝕚𝕔𝕖𝕤𝕥𝕖𝕣 𝟚𝟘𝟙𝟝⭐

🔸"𝐼𝑛 𝑡ℎ𝑒 '90𝑠, 𝑝𝑒𝑜𝑝𝑙𝑒 𝑤𝑒𝑟𝑒 𝑐𝑜𝑛𝑛𝑒𝑐𝑡𝑒𝑑, 𝑡ℎ𝑒𝑦 𝑤𝑒𝑟𝑒 𝑗𝑢𝑚𝑝𝑖𝑛𝑔, 𝑚𝑜𝑠ℎ𝑖𝑛𝑔, 𝑐𝑟𝑜𝑤𝑑-𝑠𝑢𝑟𝑓𝑖𝑛𝑔. 𝑇ℎ𝑒𝑦 𝑤𝑒𝑟𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑚𝑜𝑚𝑒𝑛𝑡 𝑎𝑛𝑑 𝑗𝑢𝑠𝑡 𝑡ℎ𝑒𝑟𝑒 𝑎𝑛𝑑 𝑎𝑏𝑠𝑜𝑟𝑏𝑖𝑛𝑔 𝑡ℎ𝑒 𝑠ℎ𝑜𝑤 𝑎𝑛𝑑 𝑡ℎ𝑖𝑠 𝑖𝑠 ℎ𝑜𝑤 𝐼 𝑒𝑥𝑝𝑒𝑟𝑖𝑒𝑛𝑐𝑒𝑑 𝑐𝑜𝑛𝑐𝑒𝑟𝑡𝑠 𝑎𝑠 𝑎 𝑡𝑒𝑒𝑛𝑎𝑔𝑒𝑟 𝑎𝑛𝑑 𝑦𝑜𝑢𝑛𝑔 𝑎𝑑𝑢𝑙𝑡.
𝑇ℎ𝑒𝑦 𝑤𝑒𝑟𝑒 𝑚𝑒𝑠𝑚𝑒𝑟𝑖𝑐, 𝑡𝑟𝑎𝑛𝑠𝑐𝑒𝑛𝑑𝑒𝑛𝑡𝑎𝑙 𝑚𝑜𝑚𝑒𝑛𝑡𝑠 𝑓𝑜𝑟 𝑚𝑒. 𝐼 𝑑𝑜𝑛'𝑡 𝑢𝑛𝑑𝑒𝑟𝑠𝑡𝑎𝑛𝑑 𝑤ℎ𝑦 𝑝𝑒𝑜𝑝𝑙𝑒 𝑤𝑜𝑢𝑙𝑑𝑛'𝑡 𝑤𝑎𝑛𝑡 𝑡𝑜 𝑗𝑜𝑖𝑛 𝑚𝑒 𝑖𝑛 𝑡ℎ𝑎𝑡."🔸

𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙻𝚎𝚒𝚌𝚎𝚜𝚝𝚎𝚛 𝟸0𝟷𝟻
**************************************

Photo credit:  Tony Gaskin

Dear soulmates,
Placebo's new tour has just started. This year we will finally be able to meet again at concerts and enjoy live performances of our favorite band.
I have for you today an excerpt from Brian's interview, which he gave before the gig in Leicester during the UK part of the Loud Like Love tour in 2015, as well as a beautiful review from this show.
🔸But at the end of this post, I have one ethical question for you, and I would like you to give us your views on this burning topic that the interview is about.


⭐𝔹𝕣𝕚𝕒𝕟 𝕄𝕠𝕝𝕜𝕠 𝕀𝕟𝕥𝕖𝕣𝕧𝕚𝕖𝕨, 𝕃𝕖𝕚𝕔𝕖𝕤𝕥𝕖𝕣 𝟚𝟘𝟙𝟝⭐
💬 Brian Molko has a morning of interviews lined up, back-to-back, writes Gemma Peplow. "My favourite part of the job," he says, dryly.
Brian isn't so much prickly as honest. Which is good. You wouldn't want tried-and-tested PR spiel from the frontman of Placebo, would you? Just for good measure, when we ask how the rest of his day might get better:
🔸 "That's my business, not yours."

Photo credit:  Tony Gaskin

Moving on, then. Placebo, one of the alternative rock bands of the '90s, whose bitter, cynical lyrics soundtracked the lives of thousands, are touring the UK. After shifting millions of albums and playing bigger venues across the world, this one is kind of back to basics.
🔸 "We haven't done a regional UK tour in a long time so it feels like we're very much going back to our roots," says Brian.
"We're playing smaller venues, with a more intimate kind of energy with the audience. We do try to make an emotional connection with the audience. It's not just about playing songs.
We want to create a collective euphoria, a synergy. We need that connection, otherwise it becomes mechanical and soulless for us.
In a smaller venue, that energy comes quicker; the connection is a little easier to make – as long as not too many people are busy looking at their phones instead of the gig."


While Placebo's music has stood the test of time – the band are 20 years and six albums down the line from their self-titled debut – Brian is not convinced by this change in gig crowds.
🔸 "I think it's a shame because what they're documenting is inferior," he says. "They're missing the moment completely.
Placebo play very loud – the microphone on your smart device cannot handle the volume at which we play. The sound, will be terribly distorted, because people moving around are going to be shaky. You're going to miss out on what you pay good money to see. I just don't get it.
Every now and then some idiot shows up with an iPad and just blocks the view for about five or six people behind them.
It's completely inconsiderate, in my opinion. It's just my point of view, really, I don't want to come across like a grumpy old man. But I want to achieve connection and I can't connect with people who aren't looking at me. It's not an ego thing. It just seems pointless. What value does that have? I think life is short, the moment is fleeting, the gig is happening."

Photo credit:  Tony Gaskin

Be warned. If you pull out filming equipment when Placebo come to Leicester later this month, Brian may well pull you up on it.
🔸"I do, sometimes. Sometimes it's not so bad, but if I find it frustrating I will, particularly if the entire front row when you walk out is looking at a phone from the moment the first song begins. On a good day, it's distracting; on a bad day, I actually find it quite insulting.
If I get frustrated, it's difficult. I deal with it, just as I would if a fight breaks out in the audience. I have a unique vantage point and it is incredibly disturbing to see the hatred in these people's eyes sometimes. It affects me emotionally."


It's very different to the days when the band formed.
🔸 "In the '90s, people were connected, they were jumping, moshing, crowd-surfing. They were in the moment and just there and absorbing the show and this is how I experienced concerts as a teenager and young adult.
They were mesmeric, transcendental moments for me. I don't understand why people wouldn't want to join me in that."
Having said all that, Brian says he enjoys it more now than he did way back when the band was at the height of its success, "because now I perform without the aid of any controlled substances or intoxicants.
We're choosing to do this tour for the fans and for ourselves. For the experience. To have fun. We want to enjoy ourselves." /***/
(𝐿𝑒𝑖𝑐𝑒𝑠𝑡𝑒𝑟𝑚𝑒𝑟𝑐𝑢𝑟𝑦 𝑚𝑎𝑔. 𝑀𝑎𝑟𝑐ℎ 2015)
🔸⭐🔸

Photo credit:  Tony Gaskin

⭐ℂ𝕆ℕℂ𝔼ℝ𝕋 ℝ𝔼𝕍𝕀𝔼𝕎⭐
𝘙𝘦𝘷𝘪𝘦𝘸 𝘣𝘺 𝘊𝘢𝘵𝘩 𝘎𝘢𝘴𝘬𝘪𝘯, 𝘛𝘩𝘦 𝘔𝘪𝘥𝘭𝘢𝘯𝘥𝘴 𝘙𝘰𝘤𝘬𝘴 𝘮𝘢𝘨., 𝘓𝘦𝘪𝘤𝘦𝘴𝘵𝘦𝘳 2015
📌/***/ ... and as the lights dimmed we are teased with a remix version of ‘Pure Morning’, a track very rarely played live, a victim of the “Big Hit Syndrome”, played to death at the time. Molko and Olsdal stride onto stage, full of confidence. Gone are the androgynous looks, Molko looking more like Johnny Depp these days, plain black shirts and jeans are the order of the day in contrast to the superb light show. Olsdal still shows some of that camp swagger, at times provocatively gyrating with his guitar, whilst at other times his tall lanky frame looms over you like a mantis.


The band has always been full of contradictions, from their looks to the varied music. Molko may have shrugged off the more feminine look, but his voice is still angelic. One of the most accomplished vocalists out there, it’s both distinctive and powerful, able to move you with tracks like ‘Too Many Friends’ and frighten you with the full on ‘Meds’.

Photo credit:  Tony Gaskin

Tonight they open up with ‘B3’, ‘For What It’s Worth’ and ‘Loud Like Love’ before the first big moment of ‘Every You, Every Me’, and this is the way the gig goes, each little segment slowly building, then down again until the ultimate climax of ‘Meds’, ‘Song To Say Goodbye’, ‘Special K’ and ‘Bitter End’ and with the crowd left wanting more. The obligatory walk off then back on moment with a four song encore which included that Kate Bush song. This fan though still yearns for a full live rendition of ‘Pure Morning’ and another notable absentee ‘Nancy Boy’.


Molko and Olsdal have always strived for a perfect complete package, it’s not just about them up there, they surround themselves with consummate and multi talented musicians who swap instruments. The light show is an integral part of the experience and the guitar changes after nearly every song aren’t about tuning up or endorsements, they are about having the perfect tone and sound for that particular song. And speaking of the sound, it was the best I’ve heard at a large rock gig for a long time.


Placebo are true artists in every sense of the word, and in the wonderful surroundings and splendour of De Montfort Hall, tonight has been a memorable experience. Long may they continue to give us quality over quantity, we wouldn’t want it any other way.
🔸⭐🔸

Photo credit:  Tony Gaskin

𝐏𝐥𝐚𝐜𝐞𝐛𝐨 "𝐄𝐱𝐢𝐭 𝐖𝐨𝐮𝐧𝐝𝐬" 𝐋𝐞𝐢𝐜𝐞𝐬𝐭𝐞𝐫 𝟐𝟎𝟏𝟓
🔸🎶 https://bit.ly/3vRv48z


⭐Do you like the review, dear friends? And what do you say to Brian's words?
Yes, now here is my announced question:
Do you think it's right to record a concert on a mobile phone when we all know the band doesn't want it? And is it right to limit the view of the fans behind you with your mobile?

⭐This is also a very difficult topic for us in the team. Why?
Because we like to share great videos made by fans in our posts.
But at the same time, we know that we are supporting something that is uncomfortable for both Brian and Stefan.
Personally, I am very sensitive to this issue. Maybe I'll take a few souvenir photos from the concert. But I don't want to make videos.
I want to take the atmosphere of this unique moment in my heart, just like I did from U2 or Pink Floyd concerts many many years ago...

𝐵𝑢𝑡 𝑏𝑒𝑙𝑖𝑒𝑣𝑒 𝑚𝑒, 𝑤𝑒 𝑤𝑜𝑛'𝑡 𝑗𝑢𝑑𝑔𝑒 𝑎𝑛𝑦𝑜𝑛𝑒 𝑤ℎ𝑜 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑘𝑒𝑒𝑝 𝑡ℎ𝑒𝑖𝑟 𝑝ℎ𝑜𝑛𝑒 𝑖𝑛 𝑡ℎ𝑒𝑖𝑟 𝑝𝑜𝑐𝑘𝑒𝑡. 𝐸𝑎𝑐ℎ 𝑜𝑓 𝑢𝑠 ℎ𝑎𝑠 𝑡ℎ𝑒 𝑓𝑟𝑒𝑒𝑑𝑜𝑚 𝑜𝑓 𝑐ℎ𝑜𝑖𝑐𝑒.

Post by Marti

🟧▪️𝟏𝟏 𝐔𝐍𝐃𝐄𝐑𝐑𝐀𝐓𝐄𝐃 𝐒𝐎𝐍𝐆𝐒: 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝑰𝒏 𝒕𝒉𝒆 𝒘𝒂𝒌𝒆 𝒐𝒇 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐▪️🟧

While celebrating the release of 𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨, a music magazine 𝑮𝒊𝒈𝒘𝒊𝒔𝒆 reminded us of some great older Placebo songs which deserve to be appreciated more than they are, according to Gigwese’s opinion.
🟧𝟏𝟏 𝐔𝐍𝐃𝐄𝐑𝐑𝐀𝐓𝐄𝐃 𝐒𝐎𝐍𝐆𝐒: 𝐏𝐋𝐀𝐂𝐄𝐁𝐎🟧
𝑰𝒏 𝒕𝒉𝒆 𝒘𝒂𝒌𝒆 𝒐𝒇 𝑷𝒍𝒂𝒄𝒆𝒃𝒐'𝒔 𝒏𝒆𝒘 𝒂𝒍𝒃𝒖𝒎 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐, 𝒘𝒆 𝒕𝒐𝒐𝒌 𝒂 𝒅𝒆𝒆𝒑 𝒅𝒊𝒗𝒆 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒅𝒖𝒐'𝒔 𝒅𝒊𝒔𝒄𝒐𝒈𝒓𝒂𝒑𝒉𝒚 𝒕𝒐 𝒔𝒆𝒆 𝒘𝒉𝒂𝒕 𝒘𝒆 𝒄𝒐𝒖𝒍𝒅 𝒇𝒊𝒏𝒅 𝒊𝒏 𝒕𝒉𝒆 𝒘𝒂𝒚 𝒐𝒇 𝒖𝒏𝒅𝒆𝒓𝒓𝒂𝒕𝒆𝒅 𝒄𝒖𝒕𝒔.

Wembley Arena 2004, credit unknown

🔸'𝐃𝐫𝐚𝐠'🔸
Appearing on fan favourite album Meds, ‘Drag’ would surely have been a single on a weaker record. It’s immediate, catchy and refines Placebo’s early energy with a more refined production. “I had just fallen in love and wanted to write a song about feeling inferior to someone,” Brian Molko told Rock Mag about the song. “You think that the person you love is perfect and you just feel like a piece of shit on their shoe.”


🔸'𝐅𝐨𝐥𝐥𝐨𝐰 𝐭𝐡𝐞 𝐂𝐨𝐩𝐬 𝐁𝐚𝐜𝐤 𝐇𝐨𝐦𝐞'🔸
A softer, contemplative track on the same album, ‘Follow the Cops Back Home’ is built around a mournful guitar line from Stefan Olsdal and was inspired by visiting Iceland and later meeting Sigur Ros. “Those guys are 25 and already have got 7-year-old kids. Seeing that, I said, ‘are you crazy? Is there really so little to do in Iceland?’” Molko remembers (per Rock Mag). “They replied ‘yeah, that’s why we get drunk and fuck.’ This trip to Iceland inspired us, made us think about what you do when you live in a place like Luxembourg or Iceland where there’s nothing to do. Most of the time, you just go looking for trouble.” Formerly a live favourite, hopefully it finds its way back to setlists again.


🔸'𝐄𝐱𝐢𝐭 𝐖𝐨𝐮𝐧𝐝𝐬'🔸
The best song from 2013’s overlooked Loud Like Love album, ‘Exit Wounds’ opens with heavily processed percussion and a murmured verse before, right on cue, kicking into the kind of arena-filling chorus that Placebo could write in their sleep by now.
“The way I see it is if I can’t have you, and there’s nothing else I can replace you with then I’d rather be dead,” says Stefan Olsdal about Molko’s desperate lyrics (per Bandwagon). “It’s not something that I personally experience; it is a very extreme place to be in.”


🔸'𝐂𝐞𝐧𝐭𝐫𝐞𝐟𝐨𝐥𝐝𝐬'🔸
Lowering the curtain on their brilliant 2003 album Sleeping with Ghosts, ‘Centrefolds’ is another barebones piece, Olsdal’s piano backed by a brushed drumkit to deliver Molko’s haunting words. “[It’s] someone telling a washed-up celebrity ‘I’m the best you can get now so you’d better be mine.’ It’s about obsession, questions of status and self-degradation.”


🔸'𝐒𝐩𝐞𝐚𝐤 𝐢𝐧 𝐓𝐨𝐧𝐠𝐮𝐞𝐬'🔸
A real shape shifter, ‘Speak in Tongues’ is full of mystery and menace in its first two minutes, guitar harmonics, tinkling pianos and stuttering drums, before opening up into a widescreen rock chorus, guitars set to “anthem”. The guarded verses are contrasted by a refrain sung with open arms: “We can build a new tomorrow, today”. It’s also touring violinist, keyboardist and vocalist Fiona Brice’s favourite song to play live, so it gets extra points for that.

Photo credit: Sandy Caspers 

🔸'𝐇𝐚𝐩𝐩𝐲 𝐘𝐨𝐮’𝐫𝐞 𝐆𝐨𝐧𝐞'🔸
A melodic break-up song, ‘Happy You’re Gone’ is rumoured to be about the band’s split from former drummer Steve Hewitt (although this has never been confirmed) and finds Molko in turmoil on its chorus “How many times? How many times? Now I can't look you in the eye”. The swelling strings and more restrained pace were a marker of this period of Placebo, pointing to the direction they’d take on next album Loud Like Love.


🔸'𝐒𝐞𝐜𝐨𝐧𝐝 𝐒𝐢𝐠𝐡𝐭'🔸
A punked-up, breakneck rock song that pulses on Olsdal’s inventive bass playing, ‘Second Sight’ is a welcome burst of energy on Sleeping with Ghosts’ side B. “A one-night-stand song saying walk away for your own self-respect,” Molko said simply of the content. Extra credit for simply intoning “Third verse same as the first” in lieu of writing a middle eight.


🔸'𝐊𝐢𝐧𝐠𝐬 𝐨𝐟 𝐌𝐞𝐝𝐢𝐜𝐢𝐧𝐞'🔸
The final track on Battle for the Sun, ‘Kings of Medicine’ builds from palm-muted acoustic guitar, culminating in a final chorus splashed with brass fanfares. It’s still restrained though, never hitting the distortion pedal or exploding in a flurry of heavy percussion. The lyrics read as an addict struggling to sober up.


🔸'𝐇𝐚𝐧𝐠 𝐨𝐧 𝐭𝐨 𝐘𝐨𝐮𝐫 𝐈𝐐'🔸
An outlier on their debut self-titled record in treading a slower tempo, ‘Hang On To Your IQ’ rolls along on its stoned rhythm, guitars strummed with a loose wrist. For all the world it sounds like the hangover from the debauchery taking place on the rest of the album. “That’s the most story-like song on the album,” Molko said to NME in 1998. “The person in ‘Hang On To Your IQ’ is so self-conscious they can’t operate properly sexually, which we all go through at certain times in our lives.”

Photo credit: Annabel Staff

🔸'𝐏𝐢𝐞𝐫𝐫𝐨𝐭 𝐭𝐡𝐞 𝐂𝐥𝐨𝐰𝐧'🔸
A morose song about abusive relationships, Placebo strip things back to a toy piano and distant drums, with clean guitar strums. A difficult, contemplative narrative, we’ll let Molko (speaking to Rock Mag in 2006) tackle the subject matter. “It’s a song about destructive relationships, violent relationships. After having written it, I realised that it could well have been about family relations as well as between lovers. A lot of songs – mainly Country – talk about women being hit by their husbands. In “Pierrot the Clown,” the target of the violence is a man. A vulnerable man, trapped in a violent and destructive relationship".


🔸'𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐩𝐭𝐢𝐜'🔸
Appearing at the tail-end of 2000’s experimental ‘Black Market Music’ album, ‘Narcoleptic’ uses the disorder as a metaphor for the stupor brought on by drug abuse, with a lackadaisical arrangement of lilting drums and meandering guitar suiting the mood perfectly. Here’s what Brian said “Drugs and love are one big pillow and they can make you forget about so many things and they can make you forget about living and put you into a somnambulist state, like sleep walking.”
Its lyrics gave Placebo the phrase “a place for us to dream”, which they’d later title their 2016 retrospective compilation.
(𝐺𝑖𝑔𝑤𝑖𝑠𝑒, 𝑀𝑎𝑟𝑐ℎ 29𝑡ℎ, 2022)


⭐️If you ask me, most of the tracks belong to my favourite, so I picked up one of them, 𝐏𝐈𝐄𝐑𝐑𝐎𝐓 𝐓𝐇𝐄 𝐂𝐋𝐎𝐖𝐍, to watch with you tonight. The shared video was recorded at 𝑽𝒊𝒆𝒏𝒏𝒂'𝒔 𝑹𝒂𝒅𝒊𝒐𝒌𝒖𝒍𝒕𝒖𝒓𝒉𝒂𝒖𝒔 on April 14th, 2006.

Post by Olga

#Placebo #PlaceboAnyway #PlaceboWorld #BrianMolko #StefanOlsdal #Molko #Soulmates #PlaceboHistory #PlaceboLive #PlaceboConcert #PierrotTheClown