🟨𝐒𝐓𝐎𝐑𝐘 𝐁𝐄𝐇𝐈𝐍𝐃 𝐓𝐇𝐄 𝐂𝐎𝐕𝐄𝐑: 𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂🟨

Let’s continue talking about Placebo album covers and today, it’s 𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂’𝐬 turn.
I hope you don't mind that I swapped this one with 𝐒𝐥𝐞𝐞𝐩𝐢𝐧𝐠 𝐖𝐢𝐭𝐡 𝐆𝐡𝐨𝐬𝐭𝐬 which we've alreadt discussed

Photo credit: Kevin Westenberg, Black Market Music cover, Discogs / edit by Olga

🟨In 2016, when ranking Placebo records in the interview for Vice, 𝑩𝒓𝒊𝒂𝒏 rated their third studio album 𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂 (2000) as his least favourite.

𝐍𝐨𝐢𝐬𝐞𝐲: 𝑾𝒉𝒚 𝒊𝒔 𝒕𝒉𝒊𝒔 𝒚𝒐𝒖𝒓 𝒍𝒆𝒂𝒔𝒕 𝒇𝒂𝒗𝒐𝒓𝒊𝒕𝒆?
𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨: I guess I put it there because I think it's the record that suffers most from having a blanket sound. We do our best to not make records that do that. It's part of our modus operandi. But it also happens to be the first time we also had a number one album, and in typical Brian Molko style, I put it at the bottom. [Laughs] I think it's a real somber record, so it doesn't really conjure up euphoria, which I suppose is what I look for in music. It was recorded during the height of our party phase, and once we had recorded all of our instruments, we had turned the studio into a place to have guests. So we spent a lot of time entertaining people while our producer spent a lot of time working on the album alone. I think if we'd been a little more involved, then perhaps there would be a little more light and color. It's quite a monochrome album for me. It's a very deep wood color, with stripes of gunmetal grey when I picture it.

𝐍𝐨𝐢𝐬𝐞𝐲: 𝒀𝒐𝒖 𝒄𝒂𝒏 𝒔𝒆𝒆 𝒕𝒉𝒂𝒕 𝒊𝒏 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎 𝒄𝒐𝒗𝒆𝒓.
𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨: Yeah, and perhaps that's it. Perhaps the whole package is a little too gothic for me. I like to try and make an album with light and shade, and this one has the least.
(𝑉𝑖𝑐𝑒, 𝑅𝑎𝑛𝑘 𝑌𝑜𝑢𝑟 𝑅𝑒𝑐𝑜𝑟𝑑𝑠: 𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜 𝑆𝑘𝑒𝑝𝑡𝑖𝑐𝑎𝑙𝑙𝑦 𝑅𝑎𝑡𝑒𝑠 𝑃𝑙𝑎𝑐𝑒𝑏𝑜’𝑠 𝐸𝑖𝑔ℎ𝑡 𝐿𝑃𝑠, 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 13, 2016)

Photo credit: Kevin Westenberg

🟨As you may guess, it’s impossible that Placebo would choose a meaningless random image for their album cover. Back in the days when the record was about to be released, the guys had quite an interesting idea behind 𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜 artwork. However, in the end, it has just not been understood fully by the fans and critics. “𝑰 𝒕𝒉𝒊𝒏𝒌 𝒘𝒆 𝒐𝒗𝒆𝒓-𝒂𝒏𝒂𝒍𝒚𝒛𝒆𝒅,” as 𝑩𝒓𝒊𝒂𝒏 admitted later.

𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒄𝒐𝒗𝒆𝒓𝒔 𝒉𝒂𝒗𝒆 𝒂𝒍𝒘𝒂𝒚𝒔 𝒂𝒕𝒕𝒓𝒂𝒄𝒕𝒆𝒅 𝒂𝒕𝒕𝒆𝒏𝒕𝒊𝒐𝒏. 𝑰𝒇 𝒊𝒕'𝒔 𝒏𝒐𝒕 𝒂 𝒔𝒆𝒄𝒓𝒆𝒕, 𝒘𝒉𝒂𝒕 𝒘𝒊𝒍𝒍 𝒘𝒆 𝒔𝒆𝒆 𝒐𝒏 𝒕𝒉𝒆 𝒄𝒐𝒗𝒆𝒓 𝒐𝒇 𝒕𝒉𝒆 𝒏𝒆𝒘 𝒂𝒍𝒃𝒖𝒎 [𝑩𝒍𝒂𝒄𝒌 𝑴𝒂𝒓𝒌𝒆𝒕 𝑴𝒖𝒔𝒊𝒄]?
𝐁𝐫𝐢𝐚𝐧: Musical instruments, but very specific, very, very old and very, very heavy.
(𝐹𝑈𝑍𝑍, 𝐽𝑢𝑙-𝐴𝑢𝑔'00)

"While the band is at the height of his media exposure, Placebo removed for the first time any human presence (and charm) to his artwork.

Photo credit: Kevin Westenberg

"These are things journalists noted but not musicians" says 𝑴𝒐𝒍𝒌𝒐. "It was a visceral reaction to our past imaging. When we saw this music box mechanism, we just said yes, believing it showed the origin of the recorded music, there was nothing psychological ... In retrospect I think we over-analyzed, we just tried to be smart."
"But this cover sucks so much! " 𝑶𝒍𝒔𝒅𝒂𝒍 complete."
(𝑉𝑂𝑋𝑃𝑂𝑃, 𝐽𝑢𝑛-𝐽𝑢𝑙'09)

🟨Sleeve photography was done by the talented 𝑲𝒆𝒗𝒊𝒏 𝑾𝒆𝒔𝒕𝒆𝒏𝒃𝒆𝒓𝒈. Together with 𝑷𝒂𝒖𝒍 𝑪𝒐𝒍𝒍𝒊𝒏𝒔, Mr. Westenberg was also responsible for the whole art direction on the album.
Captivating images of Brian, Stefan, and Steve Hewitt used as the booklet photography became quite iconic and loved by all Placebo fans.

Post by Olga

🌛◾ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕃𝕌𝕃𝕃𝔸𝔹𝕀𝔼𝕊 – 𝕡𝕒𝕣𝕥 𝕀𝕏.◾🌜

⭐"𝐋𝐨𝐯𝐞 𝐀𝐧𝐝 𝐃𝐫𝐮𝐠𝐬 𝐀𝐫𝐞 𝐎𝐧𝐞 𝐁𝐢𝐠 𝐏𝐢𝐥𝐥𝐨𝐰"⭐

Hello soulmates,
tonight we will spend again with Placebo lullabies.
This time I have two songs for you that will surprise you with their contrast and you can choose which will be the best for your mood today.

Today's songs are really full of contrast, maybe more so than usual for Placebo.

𝙒𝙞𝙩𝙝 𝙩𝙝𝙚 𝙛𝙞𝙧𝙨𝙩 𝙤𝙣𝙚, 𝙬𝙚 𝙘𝙖𝙣 𝙜𝙚𝙩 𝙩𝙤 𝙥𝙡𝙖𝙘𝙚𝙨 𝙞𝙣 𝙩𝙝𝙚 𝙢𝙞𝙣𝙙 𝙬𝙝𝙚𝙧𝙚 𝙩𝙝𝙚 𝙗𝙤𝙧𝙙𝙚𝙧 𝙗𝙚𝙩𝙬𝙚𝙚𝙣 𝙧𝙚𝙖𝙡𝙞𝙩𝙮 𝙖𝙣𝙙 𝙙𝙧𝙚𝙖𝙢𝙞𝙣𝙜 𝙗𝙡𝙪𝙧𝙨.

Have you ever experienced a situation where in the middle of the day your brain suddenly shuts down completely, you feel like closing your eyes and going into the dreamland for a little while...?

...You close your eyes, even when you are engaged in some important activity, but the body simply refuses to obey the brain at that moment...

Photo credit unknown

~~~~~~~~~~~~~~~~~~~~~~

🎶🔹𝐍𝐀𝐑𝐂𝐎𝐋𝐄𝐏𝐓𝐈𝐂🔹🎶

~~~~~~~~~~~~~~~~~~~~~~𝐓𝐡𝐞 𝟏𝟏𝐭𝐡 𝐬𝐨𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝟐𝟎𝟎𝟎 𝐚𝐥𝐛𝐮𝐦 "𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜".

𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐚𝐮𝐝𝐢𝐨:
https://bit.ly/3W5yNxe

📌𝐅𝐫𝐨𝐦 𝐰𝐢𝐤𝐢𝐩𝐞𝐝𝐢𝐚:
𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘴𝘺 𝘪𝘴 𝘢 𝘭𝘰𝘯𝘨-𝘵𝘦𝘳𝘮 𝘯𝘦𝘶𝘳𝘰𝘭𝘰𝘨𝘪𝘤𝘢𝘭 𝘥𝘪𝘴𝘰𝘳𝘥𝘦𝘳 𝘵𝘩𝘢𝘵 𝘪𝘯𝘷𝘰𝘭𝘷𝘦𝘴 𝘢 𝘥𝘦𝘤𝘳𝘦𝘢𝘴𝘦𝘥 𝘢𝘣𝘪𝘭𝘪𝘵𝘺 𝘵𝘰 𝘳𝘦𝘨𝘶𝘭𝘢𝘵𝘦 𝘴𝘭𝘦𝘦𝘱–𝘸𝘢𝘬𝘦 𝘤𝘺𝘤𝘭𝘦𝘴.[𝘤𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘯𝘦𝘦𝘥𝘦𝘥] 𝘚𝘺𝘮𝘱𝘵𝘰𝘮𝘴 𝘰𝘧𝘵𝘦𝘯 𝘪𝘯𝘤𝘭𝘶𝘥𝘦 𝘱𝘦𝘳𝘪𝘰𝘥𝘴 𝘰𝘧 𝘦𝘹𝘤𝘦𝘴𝘴𝘪𝘷𝘦 𝘥𝘢𝘺𝘵𝘪𝘮𝘦 𝘴𝘭𝘦𝘦𝘱𝘪𝘯𝘦𝘴𝘴 𝘢𝘯𝘥 𝘣𝘳𝘪𝘦𝘧 𝘪𝘯𝘷𝘰𝘭𝘶𝘯𝘵𝘢𝘳𝘺 𝘴𝘭𝘦𝘦𝘱 𝘦𝘱𝘪𝘴𝘰𝘥𝘦𝘴. 𝘈𝘣𝘰𝘶𝘵 70% 𝘰𝘧 𝘵𝘩𝘰𝘴𝘦 𝘢𝘧𝘧𝘦𝘤𝘵𝘦𝘥 𝘢𝘭𝘴𝘰 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘦𝘱𝘪𝘴𝘰𝘥𝘦𝘴 𝘰𝘧 𝘴𝘶𝘥𝘥𝘦𝘯 𝘭𝘰𝘴𝘴 𝘰𝘧 𝘮𝘶𝘴𝘤𝘭𝘦 𝘴𝘵𝘳𝘦𝘯𝘨𝘵𝘩, 𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘤𝘢𝘵𝘢𝘱𝘭𝘦𝘹𝘺. .../***/

I think everyone who knows the suffering of insomnia has also experienced at least small bouts of narcolepsy. I'm glad that period of falling into darkness is over for me.

The interesting thing about these states is that even during the few seconds that sleep lasts, you dream one or more dreams in very rapid succession. I used to have trouble clarifying what was dream and what was reality after waking up. They were crazy states.

Placebo's 🔹'𝐍𝐀𝐑𝐂𝐎𝐋𝐄𝐏𝐓𝐈𝐂'🔹 was my anthem at the time, mainly because of the title and one verse that touched on my states of losing track of what was real... I wanted to end everything that was hurting me, a long-term relationship, an illness, actually my life...

Photo credit: Morten Holm

⭐"...𝙄𝙩 𝙨𝙚𝙚𝙢𝙚𝙙 𝙖 𝙥𝙡𝙖𝙘𝙚 𝙛𝙤𝙧 𝙪𝙨 𝙩𝙤 𝙙𝙧𝙚𝙖𝙢..."⭐

My path to healing came in meditation... My soul was a place of peace, calm and self-acceptance, loving me unconditionally and not flooding me with constant guilt and my failure.

But to this day I still feel a connection to the song that accompanied me in difficult times, even though it was just one of many, of course...

'𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐩𝐭𝐢𝐜' is a beautiful melancholic fragile ballad mainly due to Brian's voice.

It's again about a relationship that is dying... One of the couple already feels the state of impending self-destruction, while the other doesn't want to feel it yet...


„𝙔𝙤𝙪 𝙩𝙖𝙡𝙠 𝙞𝙣 𝙥𝙖𝙧𝙖𝙜𝙧𝙖𝙥𝙝𝙨 ...𝙄 𝙬𝙧𝙞𝙩𝙚 𝙢𝙮 𝙨𝙚𝙣𝙩𝙚𝙣𝙘𝙚 ...𝙄𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙧𝙚𝙖𝙨𝙤𝙣, 𝙞𝙩'𝙨 𝙣𝙤 𝙡𝙞𝙚...“


The song, named after the disease of narcolepsy, seems to describe the illness of a relationship that is already on the verge of changing reality - falling asleep - dying."𝘾𝙧𝙪𝙨𝙝 𝙖𝙣𝙙 𝙘𝙧𝙪𝙢𝙗𝙡𝙚 𝙪𝙣𝙙𝙚𝙧 𝙮𝙤𝙪𝙧 𝙙𝙚𝙛𝙚𝙣𝙨𝙚𝙨... 𝙄𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙧𝙚𝙖𝙨𝙤𝙣, 𝙞𝙩'𝙨 𝙣𝙤 𝙡𝙞𝙚...

𝙔𝙤𝙪 𝙛𝙧𝙖𝙢𝙚 𝙩𝙝𝙚 𝙥𝙝𝙤𝙩𝙤𝙜𝙧𝙖𝙥𝙝... 𝙄 𝙨𝙞𝙩 𝙤𝙣 𝙛𝙚𝙣𝙘𝙚𝙨... 𝘾𝙝𝙖𝙣𝙜𝙚 𝙤𝙛 𝙨𝙚𝙖𝙨𝙤𝙣, 𝙡𝙤𝙫𝙚 𝙘𝙖𝙣 𝙙𝙞𝙚..."

"𝙄𝙛 𝙬𝙚 𝙩𝙚𝙖𝙧 𝙤𝙪𝙩 𝙩𝙝𝙚 𝙩𝙪𝙢𝙤𝙧... 𝙄𝙩'𝙨 𝙡𝙖𝙩𝙚𝙧, 𝙣𝙚𝙫𝙚𝙧 𝙨𝙤𝙤𝙣𝙚𝙧"

Photo credit: Stefan Malzkorn

Of course, drugs as an escape from painful reality also play a role here... „𝙔𝙤𝙪'𝙙 𝙗𝙚𝙩𝙩𝙚𝙧 𝙠𝙚𝙚𝙥 𝙞𝙩 𝙞𝙣 𝙘𝙝𝙚𝙘𝙠... 𝙊𝙧 𝙮𝙤𝙪'𝙡𝙡 𝙚𝙣𝙙 𝙪𝙥 𝙖 𝙬𝙧𝙚𝙘𝙠... 𝘼𝙣𝙙 𝙮𝙤𝙪'𝙡𝙡 𝙣𝙚𝙫𝙚𝙧 𝙬𝙖𝙠𝙚 𝙪𝙥... 𝙒𝙖𝙠𝙚 𝙪𝙥...“ as 𝐁𝐫𝐢𝐚𝐧 describes in his quotes for this song:

💬🔹„𝘞𝘩𝘦𝘯 𝘐 𝘧𝘪𝘳𝘴𝘵 𝘸𝘳𝘰𝘵𝘦 𝘥𝘰𝘸𝘯 𝘵𝘩𝘦 𝘵𝘳𝘢𝘤𝘬𝘭𝘪𝘴𝘵𝘪𝘯𝘨 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮, 𝘐 𝘸𝘳𝘰𝘵𝘦 𝘶𝘯𝘥𝘦𝘳𝘯𝘦𝘢𝘵𝘩 𝘦𝘢𝘤𝘩 𝘵𝘳𝘢𝘤𝘬 𝘢 𝘴𝘦𝘤𝘰𝘯𝘥 𝘵𝘪𝘵𝘭𝘦. 𝘛𝘩𝘦𝘺 𝘥𝘪𝘥𝘯'𝘵 𝘮𝘢𝘬𝘦 𝘵𝘩𝘦𝘪𝘳 𝘸𝘢𝘺 𝘰𝘯 𝘵𝘰 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮, 𝘣𝘶𝘵 𝘵𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘢 𝘴𝘶𝘮𝘮𝘪𝘯𝘨 𝘶𝘱 𝘪𝘯 𝘰𝘯𝘦 𝘱𝘩𝘳𝘢𝘴𝘦 𝘰𝘧 𝘸𝘩𝘢𝘵 𝘵𝘩𝘰𝘴𝘦 𝘴𝘰𝘯𝘨𝘴 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵 𝘵𝘰 𝘮𝘦. 𝘈𝘯𝘥 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘐 𝘸𝘳𝘰𝘵𝘦 𝘧𝘰𝘳 "𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘵𝘪𝘤" 𝘸𝘢𝘴 "𝘓𝘰𝘷𝘦 𝘈𝘯𝘥 𝘋𝘳𝘶𝘨𝘴 𝘈𝘳𝘦 𝘖𝘯𝘦 𝘉𝘪𝘨 𝘗𝘪𝘭𝘭𝘰𝘸". 𝘈𝘨𝘢𝘪𝘯, 𝘭𝘪𝘬𝘦 "𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒", 𝘪𝘵 𝘦𝘹𝘱𝘭𝘰𝘳𝘦𝘴 𝘵𝘩𝘦 𝘭𝘪𝘯𝘬 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘥𝘳𝘶𝘨𝘴 𝘢𝘯𝘥 𝘭𝘰𝘷𝘦. "𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒" 𝘪𝘴 𝘶𝘱𝘱𝘦𝘳𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘳𝘶𝘴𝘩 𝘰𝘧 𝘧𝘢𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘭𝘰𝘷𝘦. "𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘵𝘪𝘤" 𝘪𝘴 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘥𝘰𝘸𝘯𝘦𝘳𝘴 𝘢𝘯𝘥 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱𝘴, 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱𝘴 𝘵𝘩𝘢𝘵 𝘳𝘦𝘢𝘤𝘩 𝘵𝘩𝘢𝘵 𝘱𝘰𝘪𝘯𝘵 𝘰𝘧 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳𝘪𝘵𝘺 𝘣𝘳𝘦𝘦𝘥𝘪𝘯𝘨 𝘤𝘰𝘯𝘵𝘦𝘮𝘱𝘵.“
(𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝙾𝚌𝚝𝚘𝚋𝚎𝚛 𝟸000)

💬🔹 "𝘐𝘵'𝘴 𝘢 𝘴𝘰𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘱𝘢𝘴𝘴𝘪𝘯𝘨 𝘭𝘰𝘷𝘦... 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.”
(𝙳𝚎𝚜 𝚌𝚊𝚍𝚎𝚗𝚌𝚎𝚜 𝚎𝚝 𝚍𝚎𝚜 𝚖𝚊𝚞𝚡 𝚋𝚢 𝚂𝚎𝚋𝚊𝚜𝚝𝚒𝚎𝚗 𝙼𝚒𝚌𝚑𝚊𝚞𝚍)

A beautifully painful lullaby, what do you think?

🎬‼ 𝐘𝐨𝐮 𝐜𝐚𝐧 𝐞𝐧𝐣𝐨𝐲 𝐢𝐭 𝐞𝐯𝐞𝐧 𝐦𝐨𝐫𝐞 𝐢𝐧 𝐭𝐨𝐝𝐚𝐲'𝐬 𝐬𝐡𝐚𝐫𝐞𝐝 𝐯𝐢𝐝𝐞𝐨 𝐟𝐫𝐨𝐦 𝐎𝐋𝐘𝐌𝐏𝐈𝐀, 𝐏𝐀𝐑𝐈𝐒 𝟐𝟎𝟎𝟎.‼🎬

~🔹~🔹~🔹~

𝐈𝐭'𝐬 𝐭𝐢𝐦𝐞 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐬𝐞𝐜𝐨𝐧𝐝 𝐥𝐮𝐥𝐥𝐚𝐛𝐲 - one of Placebo's most sensual songs.

A song so hot, with such a significant sexual charge, that it has become one of my favorite lullabies.
A brilliant song with a beautifully tender musical arrangement as if directly designed for playful moments in the arms of a loved one, or for falling asleep, or for falling asleep after making love...

💞With a song like this, you just have to get the urge to cuddle...💞

~~~~~~~~~~~~~~~~~~~~~

🎶🔹𝐁𝐔𝐁𝐁𝐋𝐄𝐆𝐔𝐍🔹🎶

~~~~~~~~~~~~~~~~~~~~~

𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐀𝐮𝐝𝐢𝐨
https://bit.ly/3Na0O2l


This amazing song was released as b-side on the single “Slave to the wage” on September 25th 2000 and re-released on the album “B-sides 1996-2006” in 2011.

I think that in the first part of the lyrics the narrator describes his hectic life as a rock star, the only way to turn off headaches can be a fast lane (maybe cocaine...) and also sex.
"𝙏𝙖𝙠𝙚 𝙩𝙝𝙞𝙨 𝙢𝙞𝙜𝙧𝙖𝙞𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤, 𝙩𝙖𝙠𝙚 𝙩𝙝𝙚 𝙛𝙖𝙨𝙩 𝙡𝙖𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤...
𝙏𝙖𝙠𝙚 𝙩𝙝𝙞𝙨 𝙢𝙞𝙜𝙧𝙖𝙞𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤, 𝙨𝙤𝙢𝙚𝙙𝙖𝙮, 𝙜𝙤𝙣𝙣𝙖 𝙩𝙖𝙠𝙚 𝙞𝙩 𝙨𝙡𝙤𝙬..."

And then the song takes a straight direction... I don't have to say anything about my idea of the narrator's loaded gun, do I?🙈🤔😊

Photo credit: Kevin Westenberg

„𝙄 𝙬𝙖𝙣𝙣𝙖 𝙩𝙪𝙧𝙣 𝙮𝙤𝙪 𝙤𝙣... 𝙛𝙚𝙚𝙡𝙨 𝙡𝙞𝙠𝙚 𝙖 𝙡𝙤𝙖𝙙𝙚𝙙 𝙜𝙪𝙣...“

...and in the next verse the request is clear... the man asks someone to spit out chewing gum and give him head:

„𝙎𝙥𝙞𝙩 𝙤𝙪𝙩 𝙮𝙤𝙪𝙧 𝙗𝙪𝙗𝙗𝙡𝙚𝙜𝙪𝙢... 𝙄 𝙬𝙖𝙣𝙣𝙖...𝙬𝙖𝙣𝙣𝙖...“

...and if you get to the end and your libido isn't bubbling yet, Brian's velvety voice is bound to bring you to your knees...

The ending of this song is the very perfection of sensuality:

„𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖 𝙘𝙪𝙢.“


There are no band's quotes for this song. So I'll borrow a quote from Brian's interview that I think fits the moment best:

💬🔹 𝐘𝐨𝐮 𝐡𝐚𝐯𝐞 𝐚 𝐫𝐞𝐩𝐮𝐭𝐚𝐭𝐢𝐨𝐧 𝐟𝐨𝐫 𝐛𝐞𝐢𝐧𝐠 𝐚 𝐩𝐞𝐫𝐯𝐞𝐫𝐭.
„𝘈 𝘱𝘦𝘳𝘷𝘦𝘳𝘵 𝘱𝘦𝘳𝘩𝘢𝘱𝘴, 𝘣𝘶𝘵 𝘭𝘪𝘬𝘦 𝘵𝘩𝘦 𝘔𝘰𝘮𝘶𝘴 𝘳𝘦𝘤𝘰𝘳𝘥, 𝘢 𝘵𝘦𝘯𝘥𝘦𝘳 𝘱𝘦𝘳𝘷𝘦𝘳𝘵. 𝘏𝘢𝘩𝘢𝘩𝘢𝘩𝘢𝘩𝘢! 𝘐𝘯 𝘦𝘷𝘦𝘳𝘺 𝘳𝘦𝘱𝘶𝘵𝘢𝘵𝘪𝘰𝘯, 𝘵𝘩𝘦𝘳𝘦'𝘴 𝘢 𝘨𝘳𝘢𝘪𝘯 𝘰𝘧 𝘵𝘳𝘶𝘵𝘩, 𝘣𝘶𝘵 𝘰𝘧𝘵𝘦𝘯 𝘪𝘵'𝘴 𝘢 𝘤𝘢𝘴𝘦 𝘰𝘧 𝘺𝘰𝘶𝘳 𝘳𝘦𝘱𝘶𝘵𝘢𝘵𝘪𝘰𝘯 𝘱𝘳𝘦𝘤𝘦𝘥𝘪𝘯𝘨 𝘺𝘰𝘶, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘸𝘩𝘰𝘭𝘦 𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘣𝘭𝘰𝘸𝘯 𝘰𝘶𝘵 𝘰𝘧 𝘱𝘳𝘰𝘱𝘰𝘳𝘵𝘪𝘰𝘯. 𝘞𝘩𝘪𝘤𝘩 𝘪𝘴 𝘧𝘶𝘯𝘯𝘺. 𝘐𝘵'𝘴 𝘢𝘭𝘭 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘳𝘰𝘤𝘬 𝘮𝘺𝘵𝘩, 𝘴𝘰 𝘪𝘵'𝘴 𝘖𝘒.“
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝙾𝚌𝚝𝚘𝚋𝚎𝚛 𝟸0𝚝𝚑 𝟸000)
~🔹~🔹~🔹~

Photo credit: Scarlet Page

Friends, how perverse is this lullaby for you as a fan of such a provocative band?

My personal opinion is that to describe its sincere sensuality in a careful, roundabout way is an insult to this very lovely song.

And if you combine listening to it with some very pleasant intimate experiences, you give it exactly the energy for which it was created.

Unfortunately for us, this gem has never been played live. Therefore, there is no video to share with you, except for 𝐨𝐧𝐞 𝐨𝐟 𝐬𝐞𝐯𝐞𝐫𝐚𝐥 𝐜𝐡𝐚𝐫𝐦𝐢𝐧𝐠 𝐟𝐚𝐧𝐦𝐚𝐝𝐞 𝐯𝐢𝐝𝐞𝐨𝐬, 𝐰𝐡𝐢𝐜𝐡 𝐲𝐨𝐮 𝐜𝐚𝐧 𝐰𝐚𝐭𝐜𝐡 𝐡𝐞𝐫𝐞:
🎬🔹 https://bit.ly/3f4TMiU

Although according to my feelings - in their music I more often fall steeply down into the depths of darkness, and therefore - you have to enjoy every moment, when it lifts us up beautifully and with a smile on our face.

💖𝐀𝐧𝐝 𝐈 𝐡𝐨𝐩𝐞 𝐲𝐨𝐮 𝐡𝐚𝐝 𝐚 𝐬𝐦𝐢𝐥𝐞 𝐨𝐧 𝐲𝐨𝐮𝐫 𝐟𝐚𝐜𝐞 𝐰𝐡𝐞𝐧 𝐲𝐨𝐮 𝐫𝐞𝐚𝐝 𝐚𝐛𝐨𝐮𝐭 “𝐁𝐮𝐛𝐛𝐥𝐞𝐠𝐮𝐧”.😊

Post by Marti

🎶𝐃𝐀𝐘𝐒 𝐁𝐄𝐅𝐎𝐑𝐄 𝐘𝐎𝐔 𝐂𝐀𝐌𝐄🎶

“𝐃𝐀𝐘𝐒 𝐁𝐄𝐅𝐎𝐑𝐄 𝐘𝐎𝐔 𝐂𝐀𝐌𝐄” is a song from Placebo's third record "𝗕𝗹𝗮𝗰𝗸 𝗺𝗮𝗿𝗸𝗲𝘁 𝗺𝘂𝘀𝗶𝗰" (2000). An album about which Brian said that it “rocks harder then the first two put together. It deals with violence quite a lot” (Kerrang, July 15th 2000). In another interview with the same magazine he stated that it's “anger and energy. It's the final part of our trilogy“.

So what about the debut album (“Placebo”) and its follow-up (“Without you I'm nothing”)? – In hindsight Brian saw it like this: “You know, the first album dealt with sex, drugs and rock and roll. Crazy sex, wild sex, sex on drugs, all that. On the second we're dealing with the after effects of that“ (Circus, May 1999). Or in other words: "The first album was a bit of a party and the second album is kind of the hangover. I describe this record as a post-coital depression" (Steve Hewitt, The Mirror, March 18th 1999).

Photo credit:  Claudia Schmölders 

But back to “Black market music”. The themes that run through the album, actually through Placebo songs in general, are love and drugs. Brian: “That's what people get addicted to most in life. And they are often the same. People have the same reactions to both” (Melody Maker, October 20th 2000). He also said that for him this idea of addiction is not only related to substances and people but also to emotions or situations.
Although “Black market music” is still about the same themes as the previous records it adds something new to the songs: “'It is more of a political record, an anger record. It's simply because we've ceased to navel-gaze as much and started to react to the injustice and the pain of the outside world" (Brian, Eye Weekly, April 26th 2001).

According to Brian “Days before you came” isn't written about someone in particular. He explained that the lyrics can be read either about someone falling in love or someone kicking an intense drug habit. Brian: “I think the provisional line in the song is 'I didn't want you anyway' about something taking over your life without you asking for it (see quote below).

“Days before you came” was recorded at Townhouse Studios in London and produced by Paul Corkett. It was engineered by Lorraine Francis and mastered by Ian Cooper.
The song was played live mainly during the “Black market music” tour in 2000 and 2001. After that it was performed only at three more occasions in early 2003. Altogether it was brought on stage 104 confirmed times. The shared video was recorded at Bizarre Festival in Germany on August 18th 2000. This was a quite short set consisting of only twelve songs.

📌 𝗕𝗥𝗜𝗔𝗡 𝗢𝗡 “𝗗𝗔𝗬𝗦 𝗕𝗘𝗙𝗢𝗥𝗘 𝗬𝗢𝗨 𝗖𝗔𝗠𝗘” 📌
📢 "It isn't written about anyone in particular, it's a song for no one really. It's straightforward lyrically and you can read it as someone falling in love or even someone kicking a really intense drug habit. I think the provisional line in the song is 'I didn't want you anyway' about something taking over your life without you asking for it. Or if you have to give up something bad in your life, healthwise, it's not necessarily because you want to, it could be something as simple as cigarettes or something far more dangerous."
(Brian, unknown magazine, 2000 [source: angelfire])

Photo credit:  Claudia Schmölders 

📜 𝗟𝗬𝗥𝗜𝗖𝗦
Days before you came
Freezing cold and empty
Towns that change their name
And a horn of plenty

Days before you came
Counting breaths inside me
Even crack-cocaine
couldn't start to hide me

Won't you join me now?
Baby's looking torn and frayed
Join the masquerade
Join the masquerade

Won't you join me now?
Baby's looking to get laid
Join the masquerade
Join the masquerade.

Days before you came
It always seemed enticing
to be naked and profane
There is no denying

Days before you came
Thunderbolt and lightning
Each day a brand new vein
Each tourniquet colliding

I didn't want you anyway 

Post by Silke

🟣▪️𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐊: 𝟐𝟎𝟎𝟎 𝐯𝐬 𝟐𝟎𝟐𝟐▪️🟣

As we did once with 𝐈𝐧𝐟𝐫𝐚-𝐑𝐞𝐝, let’s today reflect, together with you, on the reason why 𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐊 has been included into the most of the Never Let Me Go concert setlists so far.
Except for the fact that 𝑩𝒓𝒊𝒂𝒏 has never understood a doubtful pleasure of experiencing the show through a small phone screen, he just finds it distracting and upsetting to not see any vivid and passionate feedback from the fans. Looking from the stage, the view of the crowd standing still to not shake their phones while recording feels definitely not the same as people dancing, clapping, screaming and singing along!

Special K video shoot, 24 May 2001 

𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐊 
http://bit.ly/37QAFk6 

Obviously, if you start recording, you hardly ever sing ‘param pam pam parararam’ loudly into your own phone as it might ruin the video… But luckily, most fans still choose to join ‘𝒕𝒉𝒆 𝒄𝒐𝒍𝒍𝒆𝒄𝒕𝒊𝒗𝒆 𝒆𝒖𝒑𝒉𝒐𝒓𝒊𝒂’ as Brian names the best of the concert experience possible.
Indeed, with 𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐊, the audience ALWAYS participates especially enthusiastically.
And who could have doubted, Placebo need maximum interaction with the audience now, they need it MORE THAN EVER!🙌💗

🟣Back to the song itself now. Let’s remind ourselves the initial meaning and vibe of 𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐊, melodic, punky, fuzz-drenched track about the beginning of a love affair which ends up with "weeping wounds that never heal."


𝐌𝐚𝐭𝐭𝐡𝐢𝐞𝐮 𝐂𝐮𝐥𝐥𝐞𝐫𝐨𝐧: Let's go back to Special K. already, there are plenty of people who don't know what it corresponds to exactly.
📢𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨: Well, Special K it's a slang name for a drug, ketamine. I took it once 10 years ago, and they gave it in the 1950s to astronauts to create the feeling of anti-gravity, and that's how it really feels.
𝐌𝐚𝐭𝐭𝐡𝐢𝐞𝐮 𝐂𝐮𝐥𝐥𝐞𝐫𝐨𝐧:
Now it's an elephant anesthetic after all.
📢𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨: Yeah. (laughs). And I don't recommend it. Once was really enough. But the song is also a theme that runs through a few songs on the album that compares drugs to love. And on Special K, it compares the ups, the ups on an illegal substance and the feeling that you get when you fall in love, when you have a crush. They are quite similar. But the moral of the story is that what goes up must come down.
𝐌𝐚𝐭𝐭𝐡𝐢𝐞𝐮 𝐂𝐮𝐥𝐥𝐞𝐫𝐨𝐧: The descent is sometimes hard.
📢𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨: Absolutely, yeah, very tough.
(𝐼𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑟𝑎𝑑𝑖𝑜 𝐿𝑒 𝑀𝑜𝑢𝑣', 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 10𝑡ℎ, 2000)

📢𝐁𝐫𝐢𝐚𝐧: "It's a nickname for a drug given to a newborn babies to prevent thrombosis," says Molko of the song's title. "It's also used to tranquilize horses, and in the 1950s, it was given to astronauts to create the feeling of anti-gravity. And that's the song's metaphor. What goes up must come down. The same is true of drugs and love. Religion, drugs and love are what most people are addicted to in the world."
(𝑀𝑜𝑟𝑛𝑖𝑛𝑔 𝐶𝑎𝑙𝑙, 𝑀𝑎𝑦 2001)

Special K video shoot, 24 May 2001 

🟣Back then already, Brian kept the lyrics wide open for interpretations.
What is still relevant, in my opinion, is a theme of no escaping the gravity in today’s crazy world. Being blind of chasing senseless goals as power and profit, should in the end bring a person (regime/society/humanity – you name it) down...


🟣However, I’d like to finish my post with a couple of quotes to make you smile😃
📢𝐁𝐫𝐢𝐚𝐧: I think people know that the song “Special K” refers to the name given to ketamine on the street. It has nothing to do with Corn Flakes! Some of our fans were actually waving boxes of Special K cereal at recent gigs. It was rather funny. And in our recording studio, we had a mascot, a box of Special K. I had put it there one morning, on a desk. And it stayed until the end of the recording.
📢𝐒𝐭𝐞𝐯𝐞 𝐇𝐞𝐰𝐢𝐭𝐭: Thanks to Special K, youth keep the line!
(Laugh)
(𝑇𝑉 𝑁𝑅𝐽 𝐿𝑖𝑣𝑒 2000)


𝑨𝒏𝒅 𝒕𝒉𝒆 𝟖𝟎'𝒔 𝒔𝒊𝒅𝒆 𝒐𝒇 𝒄𝒆𝒓𝒕𝒂𝒊𝒏 𝒔𝒐𝒏𝒈𝒔, 𝑺𝒍𝒂𝒗𝒆 𝒕𝒐 𝒕𝒉𝒆 𝑾𝒂𝒈𝒆, 𝑺𝒑𝒆𝒄𝒊𝒂𝒍 𝑲, 𝒊𝒔 𝒊𝒕 𝒂 𝒔𝒑𝒆𝒄𝒊𝒂𝒍 𝒔𝒉𝒐𝒕 𝒕𝒐𝒐?
📢𝐁𝐫𝐢𝐚𝐧: Special K is "punk Blondie"! It's Blondie with more saturation. We're big Blondie fans.
(𝑆ℎ𝑎𝑚𝑟𝑜𝑐𝑘, 2000)

Post by Olga

♠️♥️🎵 𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖 𝗧𝗢𝗨𝗥 𝗔𝗡𝗡𝗜𝗩𝗘𝗥𝗦𝗔𝗥𝗬 🎵♦️♣️

🔸 𝐎𝐧 𝐉𝐮𝐥𝐲 𝟐𝟎𝐭𝐡, 𝟐𝟎𝟎𝟎, 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐬𝐭𝐚𝐫𝐭𝐞𝐝 𝐭𝐡𝐞𝐢𝐫 𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜 𝐓𝐨𝐮𝐫. 22 𝘺𝘦𝘢𝘳𝘴 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 ! ☺️

🔸 𝘞𝘪𝘵𝘩 𝘯𝘰 𝘭𝘦𝘴𝘴 𝘵𝘩𝘢𝘯 150 𝘥𝘢𝘵𝘦𝘴, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘵𝘰𝘶𝘳𝘦𝘥 𝘧𝘰𝘳 𝘢 𝘺𝘦𝘢𝘳 𝘢𝘯𝘥 𝘢 𝘩𝘢𝘭𝘧 𝘪𝘯 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘪𝘳𝘵𝘺 𝘤𝘰𝘶𝘯𝘵𝘳𝘪𝘦𝘴, 𝘱𝘢𝘴𝘴𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘌𝘶𝘳𝘰𝘱𝘦, 𝘈𝘮𝘦𝘳𝘪𝘤𝘢, 𝘈𝘶𝘴𝘵𝘳𝘢𝘭𝘪𝘢, 𝘌𝘶𝘳𝘢𝘴𝘪𝘢 𝘢𝘯𝘥 𝘈𝘴𝘪𝘢, 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦𝘺 𝘥𝘦𝘭𝘪𝘨𝘩𝘵𝘦𝘥 𝘑𝘢𝘱𝘢𝘯𝘦𝘴𝘦 𝘧𝘢𝘯𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦, 𝘪𝘯 𝘑𝘢𝘯𝘶𝘢𝘳𝘺 2001, 𝘢𝘴 𝘸𝘦𝘭𝘭 𝘢𝘴 𝘵𝘩𝘦 𝘔𝘦𝘹𝘪𝘤𝘢𝘯 𝘧𝘢𝘯𝘴 𝘪𝘯 𝘔𝘢𝘺 2001 ! 𝘈𝘯𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦, 𝘵𝘩𝘦𝘺 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘌𝘷𝘦𝘳𝘺 𝘠𝘰𝘶 𝘌𝘷𝘦𝘳𝘺 𝘔𝘦 𝘪𝘯 𝘢𝘯 𝘢𝘤𝘰𝘶𝘴𝘵𝘪𝘤 𝘷𝘦𝘳𝘴𝘪𝘰𝘯, 𝘸𝘩𝘪𝘤𝘩 𝘢𝘮𝘢𝘻𝘦𝘥 𝘵𝘩𝘦 𝘧𝘢𝘯𝘴.

🔸 𝘛𝘩𝘦 𝘷𝘦𝘳𝘺 𝘧𝘪𝘳𝘴𝘵 𝘤𝘰𝘯𝘤𝘦𝘳𝘵 𝘰𝘧 𝘵𝘩𝘪𝘴 𝘵𝘰𝘶𝘳 𝘸𝘢𝘴 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘪𝘯 𝘖𝘹𝘧𝘰𝘳𝘥 𝘢𝘵 𝘛𝘩𝘦 𝘡𝘰𝘥𝘪𝘢𝘤, 𝘢 𝘴𝘱𝘦𝘤𝘪𝘢𝘭 𝘧𝘢𝘯 𝘤𝘭𝘶𝘣 𝘨𝘪𝘨 𝘸𝘩𝘦𝘳𝘦 450 𝘭𝘶𝘤𝘬𝘺 𝘧𝘢𝘯𝘴 𝘢𝘵𝘵𝘦𝘯𝘥𝘦𝘥.

Photo credit down below

♠️ 𝐑𝐄𝐕𝐈𝐄𝐖 𝐎𝐅 𝐓𝐇𝐄 𝐎𝐗𝐅𝐎𝐑𝐃 𝐙𝐎𝐃𝐈𝐀𝐂 𝐂𝐎𝐍𝐂𝐄𝐑𝐓 ♠️

🔸 It was their first gig for then months, a secret fan club only show at the 450 capacity Oxford Zodiac. Fans had traveled as far as Japan to see the band showcase their new material from their forthcoming third album 'Black Market Music' for the very first time. The level of excitement and anticipation was high as we waited for the band to come on stage. After what seemed like forever, the intro started and the clapping and screams that filled the venue were possibly audible in neighbouring villages across the county ! Finally, the band appeared, looking relaxed and happy to be back. If there were any nerves in the Placebo camp, they were certainly well hidden.

🔸 Placebo opened with their first new track of the set titled 'Black Eyed', received hungrily by the crowd and followed by another new one, (and Stefan's personal favourite) 'Days Before You Came', a short fix of hard edged rock - pure Placebo ! The classic track 'Allergic' was up next after which Brian asked the audience to dedicate 'You Don't Care About Us' to "your favourite music magazine" (a banner reading "F*** the NME appeared in the crowd at this point, prompting a loud cheer !). Introducing the next song as the follow up single to 'Taste In Men', a sudden hush fell upon the vebue as the audience listened intently to the lyrical 'Slave To The Wage', dedicated to Scott Piering, the band's renowned radio and TV plugger who sadly died of cancer earlier this year.

🔸 'Passive Aggressive' was one of my personal favourites of the show, and proved also to be an instant hit with the audience. Leading to believe you're about to hear a slow track, the song builds gradually and powerfully, hinting at the diversity and sheer musical and typical brilliance of the forthcoming album.'Bionic' and '36 Degrees' were next lifting the crowd even bigger, and afterwards another new one 'Commercial For Levi' prompted a further dedication, this time to Placebo's sound man who saved Brian from certain death by a Fiat Uno ! Brian insisted Placebo hadn't been sponsored by Kellogs as they launched into the superb 'Special K', a real up beat powerful pop rock track and potential chart topper. The crowd were then given an opportunity to get their breath back as the title track from the band's last album 'Without You I'm Nothing' followed, along with an acoustic version of 'Every You Every Me' (another fanclub exclusive - first time ever performed live acoustically !). The penultimate new track of the evening 'Narcoleptic' and the alternative rendition of 'Teenage Angst' with Stef on piano ensued.

🔸 The encore kicked in with 'Taste In Men', another one of my personal highlights of the evening., with the track sounding larger than ever. It reminded me of the first time I heard 'Pure Morning' live, prompting a real "hair in the back of your neck" sensation. It was hard to believe that the set was almost over and that the end of the show was drawing ever closer. Placebo didn't disappoint however, with their choice of the last two songs, the rather excellent 'Nancy Boy' and 'Pure Morning' rounding off a very special evening. Afterwards it was tie to have a few drinks, watch some classic Placebo videos, and if you were one of the lucky ones, now was your chance to meet the band. An unforgettable night with a very special atmosphere, leaving everyone counting the days until the release of album number three.
Top gig boys !
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - 𝙸𝚜𝚜𝚞𝚎 #𝟽 (𝙰𝚞𝚐𝚞𝚜𝚝 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸000)

Photo credits:  Liam Nicholls / Edit by Laetitia

♦️ 𝐌𝐎𝐌𝐄𝐍𝐓𝐒 𝐓𝐎 𝐑𝐄𝐌𝐄𝐌𝐁𝐄𝐑 ♦️

🔸 𝘚𝘢𝘯 𝘙𝘦𝘮𝘰... 𝘛𝘩𝘦 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦 𝘴𝘵𝘪𝘭𝘭 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘸𝘩𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒 𝘰𝘯 𝘔𝘢𝘳𝘤𝘩 2, 2001 𝘢𝘵 𝘵𝘩𝘦 𝘚𝘢𝘯 𝘙𝘦𝘮𝘰 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭, 𝘲𝘶𝘪𝘵𝘦 𝘪𝘯𝘧𝘢𝘮𝘰𝘶𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘤𝘳𝘰𝘸𝘥, 𝘢 𝘥𝘦𝘭𝘪𝘨𝘩𝘵 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘢𝘯𝘴 !

𝘛𝘰 𝘬𝘯𝘰𝘸 𝘸𝘩𝘢𝘵 𝘚𝘵𝘦𝘧𝘢𝘯 𝘩𝘢𝘥 𝘵𝘰 𝘴𝘢𝘺 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘢𝘵 𝘦𝘷𝘦𝘯𝘵, 𝘰𝘶𝘳 𝘥𝘦𝘢𝘳 𝘚𝘪𝘭𝘬𝘦 𝘴𝘩𝘢𝘳𝘦𝘥 𝘩𝘪𝘴 𝘸𝘰𝘳𝘥𝘴 𝘴𝘰𝘮𝘦 𝘵𝘪𝘮𝘦 𝘢𝘨𝘰. 𝘠𝘰𝘶 𝘤𝘢𝘯 𝘳𝘦𝘢𝘥 𝘵𝘩𝘦𝘮 𝘩𝘦𝘳𝘦: https://bit.ly/39RdImV

🎵 𝙋𝙡𝙖𝙘𝙚𝙗𝙤 𝙞𝙣 𝙎𝙖𝙣 𝙍𝙚𝙢𝙤
 https://bit.ly/3n6HLdl


🔸 𝘖𝘯 𝘈𝘶𝘨𝘶𝘴𝘵 27, 2000 𝘢𝘵 𝘙𝘦𝘢𝘥𝘪𝘯𝘨 𝘍𝘦𝘴𝘵𝘪𝘷𝘢𝘭, 𝘑𝘶𝘴𝘵𝘪𝘯 𝘞𝘢𝘳𝘧𝘪𝘦𝘭𝘥 𝘫𝘰𝘪𝘯𝘦𝘥 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘵𝘰 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘚𝘱𝘪𝘵𝘦 𝘈𝘯𝘥 𝘔𝘢𝘭𝘪𝘤𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘢𝘯𝘥 𝘰𝘯𝘭𝘺 𝘵𝘪𝘮𝘦 ! 𝘞𝘦 𝘤𝘢𝘯'𝘵 𝘨𝘦𝘵 𝘦𝘯𝘰𝘶𝘨𝘩 𝘰𝘧 𝘪𝘵, 𝘤𝘢𝘯 𝘸𝘦 ?

🔊 Justin appeared with the band at reading festival which must have been in 2000 or 2001 and did that the performance live on stage with them and that I think it remains, to this day, the only performance of that song that the boys have done live.
☑️ 𝙰𝚕𝚎𝚡 𝚆𝚎𝚜𝚝𝚘𝚗 - 𝙿𝚕𝚊𝚌𝚎𝚋𝚘 - 𝙱𝚕𝚊𝚌𝚔 𝙼𝚊𝚛𝚔𝚎𝚝 𝙼𝚞𝚜𝚒𝚌 𝚂𝚝𝚘𝚛𝚒𝚎𝚜 - 𝙴𝚙𝚒𝚜𝚘𝚍𝚎 𝟹


🔊 Stef on stage was so incredible. I mean I cringe now looking at like my like super dodgy like pink faux hawk. I was like wearing a t-shirt and jeans and like didn't have anything to wear and they were all glammed up and was in the trailer and they're like: "you should put on something" and so I just took one of Stef's like leather jackets with a fur collar and then jumped out on stage.
☑️ 𝙹𝚞𝚜𝚝𝚒𝚗 𝚆𝚊𝚏𝚏𝚒𝚎𝚕𝚍 - 𝙿𝚕𝚊𝚌𝚎𝚋𝚘 - 𝙱𝚕𝚊𝚌𝚔 𝙼𝚊𝚛𝚔𝚎𝚝 𝙼𝚞𝚜𝚒𝚌 𝚂𝚝𝚘𝚛𝚒𝚎𝚜 - 𝙴𝚙𝚒𝚜𝚘𝚍𝚎 𝟹

🎵 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝘄𝗶𝘁𝗵 𝗝𝘂𝘀𝘁𝗶𝗻 𝗪𝗮𝗿𝗳𝗶𝗲𝗹𝗱 𝗼𝗻 𝘀𝘁𝗮𝗴𝗲
https://bit.ly/3ydnetG

Photo credits unknown, taken from Silver Rocket Issue 7 / Edit by Laetitia 

🔸 𝘉𝘳𝘪𝘢𝘯'𝘴 𝘵𝘳𝘢𝘨𝘪𝘤 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘰𝘧 𝘔𝘺 𝘚𝘸𝘦𝘦𝘵 𝘗𝘳𝘪𝘯𝘤𝘦 𝘢𝘵 𝘵𝘩𝘦 𝘏𝘶𝘳𝘳𝘪𝘤𝘢𝘯𝘦 𝘍𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘪𝘴 𝘧𝘰𝘳 𝘮𝘦 𝘢 𝘮𝘰𝘮𝘦𝘯𝘵 𝘰𝘧 𝘱𝘶𝘳𝘦 𝘩𝘦𝘢𝘳𝘵𝘣𝘳𝘦𝘢𝘬𝘪𝘯𝘨 𝘢𝘮𝘢𝘻𝘦𝘮𝘦𝘯𝘵. 𝘉𝘳𝘪𝘢𝘯 𝘳𝘦𝘮𝘪𝘯𝘥𝘴 𝘮𝘦 𝘴𝘰𝘮𝘦𝘸𝘩𝘢𝘵 𝘰𝘧 𝘑𝘢𝘤𝘲𝘶𝘦𝘴 𝘉𝘳𝘦𝘭 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘪𝘯𝘨 𝘕𝘦 𝘔𝘦 𝘘𝘶𝘪𝘵𝘵𝘦 𝘗𝘢𝘴 (𝘢𝘯𝘥 𝘮𝘢𝘯𝘺 𝘰𝘵𝘩𝘦𝘳 𝘴𝘰𝘯𝘨𝘴) 𝘢𝘵 𝘵𝘩𝘦 𝘗𝘢𝘭𝘮𝘢𝘳𝘦̀𝘴 𝘥𝘦 𝘭𝘢 𝘊𝘩𝘢𝘯𝘴𝘰𝘯 𝘪𝘯 1966, 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦 𝘦𝘮𝘰𝘵𝘪𝘰𝘯 𝘨𝘪𝘷𝘦𝘴 𝘴𝘶𝘣𝘴𝘵𝘢𝘯𝘤𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘭𝘺𝘳𝘪𝘤𝘴.

🎵 𝗠𝘆 𝗦𝘄𝗲𝗲𝘁 𝗣𝗿𝗶𝗻𝗰𝗲 𝗮𝘁 𝗛𝘂𝗿𝗿𝗶𝗰𝗮𝗻𝗲 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹
https://bit.ly/3nrqJH7


🔸 𝘉𝘭𝘶𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘢𝘵 𝘵𝘩𝘦 𝘖𝘭𝘺𝘮𝘱𝘪𝘢 𝘪𝘯 𝘗𝘢𝘳𝘪𝘴 𝘪𝘯 𝘕𝘰𝘷𝘦𝘮𝘣𝘦𝘳 2000 𝘳𝘦𝘮𝘢𝘪𝘯𝘴 𝘢 𝘴𝘱𝘦𝘤𝘪𝘢𝘭 𝘮𝘰𝘮𝘦𝘯𝘵 𝘪𝘯 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘥𝘦𝘤𝘪𝘥𝘦𝘥 𝘵𝘰 𝘴𝘩𝘰𝘸 𝘵𝘩𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘧𝘭𝘢𝘨 𝘣𝘶𝘳𝘯𝘪𝘯𝘨 𝘣𝘦𝘩𝘪𝘯𝘥 𝘵𝘩𝘦𝘮. 𝘈𝘭𝘵𝘩𝘰𝘶𝘨𝘩 𝘧𝘰𝘳 𝘉𝘳𝘪𝘢𝘯 𝘪𝘵 𝘩𝘢𝘥 𝘯𝘰𝘵𝘩𝘪𝘯𝘨 𝘵𝘰 𝘥𝘰 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘜𝘯𝘪𝘵𝘦𝘥 𝘚𝘵𝘢𝘵𝘦𝘴, 𝘐 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘪𝘵 𝘸𝘢𝘴 𝘳𝘢𝘵𝘩𝘦𝘳 𝘥𝘢𝘳𝘪𝘯𝘨 𝘢𝘯𝘥 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵𝘪𝘯𝘨 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘰 𝘣𝘦 𝘮𝘦𝘯𝘵𝘪𝘰𝘯𝘦𝘥.

- 𝑶𝒏 𝑩𝒍𝒖𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏, 𝒚𝒐𝒖 𝒔𝒆𝒆𝒎 𝒕𝒐 𝒃𝒆 𝒈𝒐𝒊𝒏𝒈 𝒔𝒕𝒓𝒂𝒊𝒈𝒉𝒕 𝒅𝒐𝒘𝒏 𝒕𝒉𝒆 𝑼𝒏𝒊𝒕𝒆𝒅 𝑺𝒕𝒂𝒕𝒆𝒔, 𝒚𝒐𝒖𝒓 𝒉𝒐𝒎𝒆 𝒄𝒐𝒖𝒏𝒕𝒓𝒚.
🔊 It's more of a metaphor than anything else. I'm not talking about a particular country, but about some things I discovered in myself that I'm not proud of. Every person knows their bad sides and tries to hide them most of the time. I think it's important to bring out these frustrations and obsessions that end up ruining us. Because when you overcome that stuff, your life is better. That's kind of the message of this song.
☑️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙶𝚞𝚒𝚝𝚊𝚛 𝙼𝚊𝚐 - 𝙼𝚊𝚛𝚌𝚑 𝟸00𝟷

🎵 𝗕𝗹𝘂𝗲 𝗔𝗺𝗲𝗿𝗶𝗰𝗮𝗻 𝗹𝗶𝘃𝗲 𝗶𝗻 𝗣𝗮𝗿𝗶𝘀
https://bit.ly/3xK4Lne


🔸 𝘈𝘴 𝘵𝘩𝘦 𝘢𝘤𝘰𝘶𝘴𝘵𝘪𝘤 𝘷𝘦𝘳𝘴𝘪𝘰𝘯 𝘰𝘧 𝘌𝘷𝘦𝘳𝘺 𝘔𝘦 𝘌𝘷𝘦𝘳𝘺 𝘠𝘰𝘶 𝘸𝘢𝘴 𝘧𝘪𝘳𝘴𝘵 𝘱𝘭𝘢𝘺𝘦𝘥 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘵𝘰𝘶𝘳, 𝘪𝘵'𝘴 𝘸𝘰𝘳𝘵𝘩 𝘭𝘪𝘴𝘵𝘦𝘯𝘪𝘯𝘨 𝘵𝘰 𝘪𝘵 𝘢𝘨𝘢𝘪𝘯 ⭐

🎵 Every Me Every You live at MCM Café (22 February 2001)
https://bit.ly/3xPmnhL

Photo credits unknown / Edit by Laetitia 

🔸 𝘈𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘨𝘪𝘨 𝘢𝘵 𝘞𝘦𝘳𝘤𝘩𝘵𝘦𝘳 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘰𝘯 𝘑𝘶𝘭𝘺 1, 2001, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘳𝘦𝘤𝘪𝘦𝘷𝘦𝘥 𝘢 𝘨𝘰𝘭𝘥 𝘥𝘪𝘴𝘤 𝘧𝘰𝘳 𝘉𝘭𝘢𝘤𝘬 𝘔𝘢𝘳𝘬𝘦𝘵 𝘔𝘶𝘴𝘪𝘤. 𝘐𝘵 𝘸𝘢𝘴 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘯𝘵 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘰 𝘣𝘦 𝘮𝘦𝘯𝘵𝘪𝘰𝘯𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘹𝘤𝘭𝘶𝘴𝘪𝘷𝘦 𝘧𝘢𝘯 𝘮𝘢𝘨𝘢𝘻𝘪𝘯𝘦.


🔊 The band were awarded gold discs for Black Market Music sales in excess of 28 000 in Belgium (world domination is getting nearer all the time).
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷0 (𝙰𝚞𝚐𝚞𝚜𝚝 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸00𝟷)


🔊 Beautiful day. Don't let it slip away. Bri and Steve make up so all is cool. A really good one again. Gold discs. We do have a weak spot for the Belgians.
☑️ 𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕 - 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷𝟹 (𝙹𝚞𝚕𝚢 - 𝚂𝚎𝚙𝚝𝚎𝚖𝚋𝚎𝚛 𝟸00𝟸)

🎵 𝗕𝗹𝗮𝗰𝗸-𝗘𝘆𝗲𝗱 𝗮𝘁 𝗪𝗲𝗿𝗰𝗵𝘁𝗲𝗿 (𝟮𝟬𝟬𝟭) 

https://bit.ly/3QJBjGS


🔸 𝘐'𝘷𝘦 𝘴𝘩𝘢𝘳𝘦𝘥 𝘢 𝘳𝘦𝘷𝘪𝘦𝘸 𝘧𝘳𝘰𝘮 𝘢 𝘧𝘢𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘨𝘪𝘨 𝘵𝘩𝘦𝘺 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘧𝘰𝘳 𝘵𝘩𝘪𝘴 𝘵𝘰𝘶𝘳. 𝘕𝘰𝘸, 𝘐'𝘥 𝘭𝘪𝘬𝘦 𝘵𝘰 𝘴𝘩𝘢𝘳𝘦 (𝘰𝘯𝘦 𝘰𝘧 ) 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘪𝘯𝘵𝘦𝘳𝘷𝘪𝘦𝘸 𝘵𝘩𝘦𝘺 𝘥𝘪𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘢𝘯 𝘪𝘯 𝘚𝘪𝘭𝘷𝘦𝘳 𝘙𝘰𝘤𝘬𝘦𝘵 𝘔𝘢𝘨𝘢𝘻𝘪𝘯𝘦, 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦 𝘵𝘰𝘶𝘳 𝘵𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘢𝘣𝘰𝘶𝘵 𝘵𝘰 𝘦𝘯𝘥.

♣️ 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 ♣️
𝑇ℎ𝑒 𝑡𝑜𝑢𝑟 𝑒𝑛𝑑𝑒𝑑 𝑜𝑛 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 27, 2001 𝑖𝑛 𝐵𝑒𝑙𝑔𝑖𝑢𝑚. 𝐴 𝑙𝑜𝑛𝑔 𝑎𝑛𝑑 𝑖𝑛𝑡𝑒𝑛𝑠𝑒 𝑡𝑜𝑢𝑟 𝑓𝑜𝑟 𝑜𝑢𝑟 𝑏𝑒𝑙𝑜𝑣𝑒𝑑 𝑏𝑎𝑛𝑑 ! 𝑇ℎ𝑒 𝑠𝑎𝑚𝑒 𝑚𝑜𝑛𝑡ℎ, 𝑏𝑒𝑓𝑜𝑟𝑒 𝑡ℎ𝑒 𝑔𝑖𝑔 𝑖𝑛 𝐿𝑜𝑛𝑑𝑜𝑛, 𝑡ℎ𝑒𝑦 𝑔𝑎𝑣𝑒 𝑎𝑛 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑜𝑛 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 18. 𝑌𝑜𝑢 𝑐𝑎𝑛 𝑓𝑒𝑒𝑙 𝑡ℎ𝑒 𝑏𝑎𝑛𝑑 𝑒𝑥ℎ𝑎𝑢𝑠𝑡𝑒𝑑 𝑏𝑢𝑡 𝑝𝑟𝑜𝑢𝑑 𝑜𝑓 𝑡ℎ𝑒𝑖𝑟 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑠𝑢𝑐𝑐𝑒𝑠𝑠 𝑜𝑓 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚.

💬 𝑺𝒐, 𝒏𝒐𝒘 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖'𝒗𝒆 𝒄𝒐𝒎𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒆𝒏𝒅 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓. 𝑾𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒂 𝒈𝒐𝒐𝒅 𝒚𝒆𝒂𝒓 𝒇𝒐𝒓 𝑷𝒍𝒂𝒄𝒆𝒃𝒐?
𝓢𝓽𝓮𝓿𝓮: I think it's been the best year that Placebo has had. It's the best record we've ever had and the best tour we've ever had so far.
𝓑𝓻𝓲𝓪𝓷: It's just been very long. Very long and very taxing (𝘮𝘶𝘳𝘮𝘶𝘳𝘴 𝘰𝘧 𝘢𝘨𝘳𝘦𝘦𝘮𝘦𝘯𝘵 𝘢𝘭𝘭 𝘳𝘰𝘶𝘯𝘥). Both physically and emotionally.


💬 𝙄𝙨 𝙞𝙩 𝙜𝙤𝙤𝙙 𝙩𝙤 𝙗𝙚 𝙗𝙖𝙘𝙠 𝙞𝙣 𝙇𝙤𝙣𝙙𝙤𝙣 𝙩𝙝𝙚𝙣.
𝓑𝓻𝓲𝓪𝓷: Well we've only been back in London for what, 2 hours. So it hasn't really hit yet. I think when we go home tonight is when it will sink in.
𝓢𝓽𝓮𝓯𝓪𝓷: Yeah we just try not to think of London too much. We just think of it as another gig. Otherwise we get really nervous.

Photo credits: Paul Bergen / Edit by Laetitia

💬 𝑴𝒐𝒔𝒕 𝒑𝒆𝒐𝒑𝒍𝒆 𝒔𝒆𝒆𝒎 𝒕𝒐 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓 𝑳𝒐𝒏𝒅𝒐𝒏 𝒕𝒐 𝒃𝒆 "𝒉𝒐𝒎𝒆 𝒈𝒓𝒐𝒖𝒏𝒅" 𝒇𝒐𝒓 𝒚𝒐𝒖, 𝒅𝒐 𝒚𝒐𝒖 𝒔𝒉𝒂𝒓𝒆 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒗𝒊𝒆𝒘?
𝓢𝓽𝓮𝓿𝓮: Well London we have the most guests.
𝓑𝓻𝓲𝓪𝓷: Yeah (cue laughter) but you know because of that it just makes it added special and because it's Brixton. It's such a dream venue.


💬 𝑨𝒏𝒅 𝒅𝒐𝒆𝒔 𝒕𝒉𝒆 𝒔𝒊𝒛𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒗𝒆𝒏𝒖𝒆 𝒎𝒂𝒌𝒆 𝒂𝒏𝒚 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒄𝒆, 𝒂𝒔 𝒚𝒐𝒖'𝒗𝒆 𝒑𝒍𝒂𝒚𝒆𝒅 𝒂 𝒍𝒐𝒕 𝒃𝒊𝒈𝒈𝒆𝒓 ?
𝓑𝓻𝓲𝓪𝓷: Yeah we've played a lot bigger in Europe and Mexico.


💬 𝑾𝒉𝒊𝒄𝒉 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒚𝒐𝒖 𝒑𝒓𝒆𝒇𝒆𝒓𝒓𝒆𝒅 ? 𝑺𝒎𝒂𝒍𝒍𝒆𝒓 𝒎𝒐𝒓𝒆 𝒊𝒏𝒕𝒊𝒎𝒂𝒕𝒆 𝒄𝒓𝒐𝒘𝒅𝒔 𝒐𝒓 𝒍𝒂𝒓𝒈𝒆𝒓 𝒔𝒕𝒂𝒅𝒊𝒖𝒎 𝒔𝒊𝒛𝒆𝒅 𝒈𝒊𝒈𝒔?
𝓢𝓽𝓮𝓯𝓪𝓷: I think that Brixton is the ultimate size really. It's the best venue that we've played, for the sound, atmosphere. Just the nature of being in a theater really.
𝓑𝓻𝓲𝓪𝓷: There's few purpose built places in France which almost equal it. It's this romance that's attached to it. It's a bit more intense.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒅 𝒂𝒈𝒓𝒆𝒆 𝒊𝒕'𝒔 𝒃𝒆𝒕𝒕𝒆𝒓 𝒕𝒐 𝒑𝒍𝒂𝒚 𝒂 𝒔𝒎𝒂𝒍𝒍𝒆𝒓 𝒉𝒆𝒂𝒅𝒍𝒊𝒏𝒊𝒏𝒈 𝒈𝒊𝒈 𝒕𝒉𝒂𝒏 𝒔𝒂𝒚 𝒂 𝒇𝒆𝒔𝒕𝒊𝒗𝒂𝒍 𝒚𝒐𝒖 𝒑𝒍𝒂𝒚 𝒕𝒐 𝒂 𝒍𝒂𝒓𝒈𝒆𝒓 𝒎𝒐𝒓𝒆 𝒎𝒊𝒙𝒆𝒅 𝒄𝒓𝒐𝒘𝒅?
𝓑𝓻𝓲𝓪𝓷: Yeah headlining gigs.
𝓢𝓽𝓮𝓯𝓪𝓷: Headlining gigs definitely.


💬 𝑰 𝒌𝒏𝒐𝒘 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒂 𝒍𝒐𝒏𝒈 𝒚𝒆𝒂𝒓, 𝒂𝒔 𝒕𝒉𝒆𝒓𝒆 𝒃𝒆𝒆𝒏 𝒂𝒏𝒚 𝒔𝒕𝒂𝒏𝒅 𝒐𝒖𝒕 𝒑𝒐𝒊𝒏𝒕𝒔 𝒇𝒐𝒓 𝒚𝒐𝒖. 𝑮𝒐𝒐𝒅 𝒐𝒓 𝒃𝒂𝒅?
𝓢𝓽𝓮𝓿𝓮: Breaking Germany this year. Playing places like Dusseldorf to 5000 people, things like that. It really lifts you up beyond your dreams.


💬 𝑨𝒏𝒅 𝒃𝒂𝒅 𝒑𝒐𝒊𝒏𝒕𝒔? 𝑶𝒏𝒆𝒔 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒕𝒆𝒍𝒍 𝒖𝒔 𝒂𝒏𝒚𝒘𝒂𝒚?
𝓢𝓽𝓮𝓿𝓮: Touring for 16 months.
𝓑𝓻𝓲𝓪𝓷: The beginning of the press campaigns. That was pretty vicious.
𝓢𝓽𝓮𝓿𝓮: Yes that was rough.
𝓢𝓽𝓮𝓯𝓪𝓷: San Remo, yes.
𝓢𝓽𝓮𝓿𝓮: That day.


💬 𝑫𝒐𝒆𝒔 𝒊𝒕 𝒓𝒆𝒂𝒍𝒍𝒚 𝒈𝒆𝒕 𝒕𝒐𝒖 𝒚𝒐𝒖? 𝑻𝒉𝒂𝒕 𝒃𝒂𝒅 𝒑𝒓𝒆𝒔𝒔.
𝓑𝓻𝓲𝓪𝓷: No, not really any. Not anymore. (Stefan and Steve nodded in agreement)


💬 𝑶𝒃𝒗𝒊𝒐𝒖𝒔𝒍𝒚, 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒕𝒊𝒓𝒊𝒏𝒈 𝒇𝒐𝒓 𝒚𝒐𝒖. 𝑩𝒖𝒕 𝒘𝒉𝒂𝒕 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓 𝒕𝒉𝒆 𝒃𝒆𝒔𝒕 𝒂𝒏𝒅 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈𝒔 𝒂𝒃𝒐𝒖𝒕 𝒃𝒆𝒊𝒏𝒈 𝒐𝒏 𝒕𝒐𝒖𝒓?
𝓑𝓻𝓲𝓪𝓷: Playing the best (evil smirk) interviews are the worst. Ah you know, it's just the fatigue and everything. It's tough and a really kinda prolonged basis.
𝓢𝓽𝓮𝓯𝓪𝓷: It's exhausting.
𝓑𝓻𝓲𝓪𝓷: Right, but without that, you start to get like a junkie, you know the withdrawal symptoms.


💬 𝑨𝒏𝒅 𝒉𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒔𝒖𝒓𝒗𝒊𝒗𝒆 𝒕𝒉𝒆 𝒃𝒐𝒓𝒆𝒅𝒐𝒎 𝒐𝒇 𝒕𝒓𝒂𝒗𝒆𝒍, 𝒑𝒖𝒕𝒕𝒊𝒏𝒈 𝒖𝒑 𝒘𝒊𝒕𝒉 𝒆𝒂𝒄𝒋=𝒉 𝒐𝒕𝒉𝒆𝒓 𝒇𝒐𝒓 𝒕𝒉𝒐𝒔𝒆 𝒍𝒐𝒏𝒈 𝒎𝒐𝒏𝒕𝒉𝒔?
𝓢𝓽𝓮𝓿𝓮: Get pissed a lot (𝘭𝘢𝘶𝘨𝘩𝘵𝘦𝘳)


💬 𝘽𝙪𝙩 𝙬𝙝𝙖𝙩 𝙨𝙩𝙤𝙥𝙨 𝙮𝙤𝙪 𝙠𝙞𝙡𝙡𝙞𝙣𝙜 𝙚𝙖𝙘𝙝 𝙤𝙩𝙝𝙚𝙧?
𝓢𝓽𝓮𝓿𝓮: Table tennis.
𝓑𝓻𝓲𝓪𝓷: What stops us killing each other ? Having a common goal.
𝓢𝓽𝓮𝓯𝓪𝓷: Having a common goal and respect. And the music really. We're still writing and it's as fresh as ever. I've said it before, you know that's what keeps it together. Checking out other bands on the tour as well.

Photo credits unknown / Edit by Laetitia

💬 𝑫𝒐 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂𝒏𝒚 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝑪𝑫'𝒔 𝒐𝒓 𝒎𝒐𝒗𝒊𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓 𝒃𝒖𝒔 𝒕𝒐 𝒉𝒆𝒍𝒑 𝒌𝒆𝒆𝒑 𝒚𝒐𝒖 𝒂𝒎𝒖𝒔𝒆𝒅?
𝓢𝓽𝓮𝓿𝓮: Always looking for good movies.
𝓢𝓽𝓮𝓯𝓪𝓷: Snatch.
𝓑𝓻𝓲𝓪𝓷: Engel and Joe from the Black-Eyed vid.


💬 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒔𝒐𝒎𝒆 𝒑𝒓𝒆𝒕𝒕𝒚 𝒅𝒆𝒅𝒊𝒄𝒂𝒕𝒆𝒅 𝒇𝒂𝒏𝒔, 𝒕𝒉𝒆𝒓𝒆'𝒔 𝒑𝒆𝒐𝒑𝒍𝒆 𝒉𝒆𝒓𝒆 𝒕𝒐𝒏𝒊𝒈𝒉𝒕 𝒇𝒓𝒐𝒎 𝒂𝒍𝒍 𝒐𝒗𝒆𝒓 𝑬𝒖𝒓𝒐𝒑𝒆 𝒘𝒉𝒐'𝒗𝒆 𝒂𝒍𝒔𝒐 𝒂𝒕𝒕𝒆𝒏𝒅𝒆𝒅 𝒎𝒂𝒏𝒚 𝒐𝒇 𝒕𝒉𝒆 𝑬𝒖𝒓𝒐𝒑𝒆𝒂𝒏 𝒅𝒂𝒕𝒆𝒔. 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒐𝒔𝒆 𝒇𝒂𝒏𝒔 𝒕𝒉𝒂𝒕 𝒇𝒐𝒍𝒍𝒐𝒘 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓𝒚𝒘𝒉𝒆𝒓𝒆?
𝓢𝓽𝓮𝓿𝓮: It's flattering, very flattering.


💬 𝑨𝒏𝒅 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒊𝒏𝒅 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒔𝒊𝒏𝒈 𝒇𝒂𝒄𝒆𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒄𝒓𝒐𝒘𝒅?
𝓢𝓽𝓮𝓯𝓪𝓷: Yeah, the whole of Germany and parts of France had the whole same first row.
𝓑𝓻𝓲𝓪𝓷: Where do they get the money from, I think that's the burning question. So yeah, it's flattering that they spend so much money on us. There's fans from Japan who can probably lose their jobs following us around on tour for like two months and that's pretty extreme. They blow their life saving and stuff.
𝓢𝓽𝓮𝓯𝓪𝓷: And people who wait for 15 hours in the rain just to see us.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒗𝒆 𝒏𝒆𝒗𝒆𝒓 𝒅𝒐𝒏𝒆 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒂𝒔𝒕 𝒕𝒉𝒆𝒏?
𝓐𝓵𝓵: No.


💬 𝑶𝒌, 𝒔𝒐 𝒘𝒉𝒂𝒕 𝒔𝒐𝒓𝒕 𝒐𝒇 𝒈𝒊𝒈𝒔 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒈𝒐 𝒕𝒐 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒚𝒐𝒖𝒏𝒈𝒆𝒓?
𝓑𝓻𝓲𝓪𝓷: I went to see Roger Waters: The Wall when I was about 13 or something, The Wall 2.
(𝘉𝘰𝘵𝘩 𝘚𝘵𝘦𝘷𝘦 𝘢𝘯𝘥 𝘚𝘵𝘦𝘧 𝘢𝘳𝘦 𝘢𝘵 𝘵𝘩𝘪𝘴 𝘱𝘰𝘪𝘯𝘵 𝘬𝘦𝘦𝘱𝘪𝘯𝘨 𝘢𝘯 𝘦𝘯𝘪𝘨𝘮𝘢𝘵𝘪𝘤 𝘴𝘪𝘭𝘦𝘯𝘤𝘦, 𝘰𝘣𝘷𝘪𝘰𝘶𝘴𝘭𝘺 𝘯𝘰𝘵 𝘸𝘢𝘯𝘵𝘪𝘯𝘨 𝘵𝘰 𝘢𝘥𝘮𝘪𝘵 𝘵𝘰 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨).
𝓑𝓻𝓲𝓪𝓷: We went to a Spice Girls party, but that was after the gig, we didn't go to the gig, just the party.


💬 𝑶𝒉 𝒘𝒂𝒔𝒏'𝒕 𝒕𝒉𝒂𝒕 𝒘𝒉𝒆𝒓𝒆 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒕𝒉𝒓𝒆𝒘 𝒚𝒐𝒖 𝒂𝒄𝒓𝒐𝒔𝒔 𝒕𝒉𝒆 𝒓𝒐𝒐𝒎?
𝓑𝓻𝓲𝓪𝓷: Yeah, I got beat up by somebody.
𝓢𝓽𝓮𝓯𝓪𝓷: Oh I went to see Sting (𝘸𝘩𝘪𝘤𝘩 𝘧𝘰𝘳 𝘴𝘰𝘮𝘦 𝘳𝘦𝘢𝘴𝘰𝘯 𝘪𝘯𝘥𝘶𝘤𝘦𝘴 𝘭𝘢𝘶𝘨𝘩𝘵𝘦𝘳 𝘢𝘭𝘭 𝘢𝘳𝘰𝘶𝘯𝘥).


💬 𝑶𝒃𝒗𝒊𝒐𝒖𝒔𝒍𝒚, 𝒚𝒐𝒖'𝒓𝒆 𝒏𝒐𝒕 𝒕𝒉𝒊𝒏𝒌𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒕𝒐𝒖𝒓𝒊𝒏𝒈 𝒂𝒕 𝒕𝒉𝒆 𝒎𝒐𝒎𝒆𝒏𝒕. 𝑩𝒖𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒘𝒊𝒍𝒍 𝒚𝒐𝒖 𝒃𝒆 𝒕𝒐𝒖𝒓𝒊𝒏𝒈 𝒕𝒉𝒆 𝑺𝒕𝒂𝒕𝒆𝒔 𝒂𝒈𝒂𝒊𝒏 𝒆𝒙𝒕𝒆𝒏𝒔𝒊𝒗𝒆𝒍𝒚 𝒏𝒆𝒙𝒕 𝒕𝒊𝒎𝒆 𝒂𝒓𝒐𝒖𝒏𝒅?
𝓑𝓻𝓲𝓪𝓷: Hopefully.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒓𝒆 𝒔𝒕𝒊𝒍𝒍 𝒉𝒐𝒑𝒊𝒏𝒈 𝒕𝒐 𝒃𝒓𝒆𝒂𝒌 𝑨𝒎𝒆𝒓𝒊𝒄𝒂?
𝓑𝓻𝓲𝓪𝓷: We'll see. I mean it's not going anywhere.


💬 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒃𝒓𝒐𝒌𝒆 𝒂𝒏𝒚 𝒏𝒆𝒘 𝒈𝒓𝒐𝒖𝒏𝒅 𝒂𝒏𝒅 𝒎𝒂𝒅𝒆 𝒂𝒏𝒚 𝒏𝒆𝒘 𝒇𝒂𝒏𝒔 𝒘𝒉𝒊𝒍𝒔𝒕 𝒐𝒗𝒆𝒓 𝒕𝒉𝒆𝒓𝒆 𝒕𝒉𝒊𝒔 𝒚𝒆𝒂𝒓?
𝓢𝓽𝓮𝓯𝓪𝓷: We actually played to more people this time. We played the same venues as we played the last time, but last time was a co-headlining tour with another band, so when we came back, we were playing the same venues but selling them out ourselves.
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷𝟷 (𝙹𝚊𝚗𝚞𝚊𝚛𝚢 - 𝙼𝚊𝚛𝚌𝚑 𝟸00𝟸)


Photo credits pic 1:
📷 Carole Epinette (bottom right)
📷 Screenshot from MCM Café (bottom left)
📷 Sublime Cat (middle right)
📷 Rock Mag - February 2001 (background)
📷 the rest unknown
Edit by Laetitia

Post by Laetitia

💦 𝙋𝙇𝘼𝘾𝙀𝘽𝙊 𝙎𝙃𝙊𝙒𝙎 𝙏𝙃𝙀 𝙒𝘼𝙔 💦

▪◾▪ 𝗜𝗻𝘁𝗲𝗿𝘃𝗶𝗲𝘄 𝘄𝗶𝘁𝗵 𝗕𝗿𝗶𝗮𝗻 ▪◾▪

“𝙄 𝙖𝙡𝙬𝙖𝙮𝙨 𝙩𝙝𝙞𝙣𝙠 𝙩𝙝𝙖𝙩 𝙩𝙝𝙚𝙧𝙚 𝙞𝙨 𝙖 𝙡𝙞𝙩𝙩𝙡𝙚 𝙗𝙞𝙩 𝙤𝙛 𝙝𝙤𝙥𝙚 𝙖𝙣𝙙 𝙤𝙥𝙩𝙞𝙢𝙞𝙨𝙢 𝙞𝙣 𝙤𝙪𝙧 𝙢𝙪𝙨𝙞𝙘, 𝙞𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙝𝙚𝙧𝙚 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙢𝙞𝙨𝙚𝙧𝙮. 𝙈𝙖𝙮𝙗𝙚 𝙞𝙩'𝙨 𝙟𝙪𝙨𝙩 𝙖 𝙬𝙞𝙣𝙙𝙤𝙬 𝙞𝙣𝙩𝙤 𝙩𝙝𝙚 𝙙𝙖𝙧𝙠𝙚𝙧 𝙨𝙞𝙙𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙨𝙤𝙪𝙡, 𝙖𝙣𝙙 𝙤𝙛 𝙡𝙤𝙫𝙚, 𝙗𝙚𝙘𝙖𝙪𝙨𝙚 𝙡𝙤𝙫𝙚 𝙘𝙖𝙣 𝙗𝙚 𝙡𝙞𝙠𝙚 𝙩𝙝𝙖𝙩: 𝙞𝙩 𝙘𝙖𝙣 𝙜𝙞𝙫𝙚 𝙮𝙤𝙪 𝙖 𝙡𝙤𝙩 𝙤𝙛 𝙟𝙤𝙮, 𝙗𝙪𝙩 𝙖𝙡𝙨𝙤 𝙖 𝙡𝙤𝙩 𝙤𝙛 𝙥𝙖𝙞𝙣.”
𝙱𝚁𝙸𝙰𝙽 𝙼𝙾𝙻𝙺𝙾

Photo credit: Liam Duke / Guitar Part cover / Edit by Laetitia

🔹 In today's interview from November 2000, with the album Black Market Music recently released, Brian opens up about the music of the beginning of the millennium, sharing his vision of what music should be. And obviously, he mentions his "heroes" who played an important role for him and Placebo. And he also blames his opposite for the musical blandness of the time, in somewhat unflattering terms.

🔹 At the beginning of the century, the internet was becoming more and more popular, but was not yet as important as it is today. When Brian says that "At the moment, I don't think that the technology is sufficient for it to be very dangerous", I wonder if his opinion is still the same now…

🔹 A rather serious interview, but with a bit of sharp humour here and there 😄
Enjoy reading ! 😊

🔹 🔷 🔹

〰️ 𝐂𝐨𝐜𝐤𝐭𝐚𝐢𝐥 𝐌𝐨𝐥𝐤𝐨 〰️

🔹 𝐴𝑝𝑎𝑟𝑡 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝑓𝑎𝑐𝑡 𝑡ℎ𝑎𝑡 𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜 𝑠𝑡𝑜𝑙𝑒 𝑎𝑙𝑙 𝑚𝑦 𝑎𝑝𝑝𝑙𝑒 𝑔𝑢𝑚, ℎ𝑒'𝑠 𝑎 𝑐ℎ𝑎𝑟𝑚𝑖𝑛𝑔 𝑔𝑢𝑦 𝑤ℎ𝑜 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑠ℎ𝑦 𝑎𝑤𝑎𝑦 𝑓𝑟𝑜𝑚 𝑞𝑢𝑒𝑠𝑡𝑖𝑜𝑛𝑠, 𝑎𝑛𝑑 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑚𝑖𝑛𝑐𝑒 ℎ𝑖𝑠 𝑤𝑜𝑟𝑑𝑠. 𝐹𝑎𝑟 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝑝𝑟𝑜𝑣𝑜𝑐𝑎𝑡𝑖𝑣𝑒 𝑖𝑚𝑎𝑔𝑒 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝐴𝑛𝑔𝑙𝑜-𝑆𝑎𝑥𝑜𝑛 𝑝𝑟𝑒𝑠𝑠 𝑡𝑟𝑖𝑒𝑠 𝑡𝑜 𝑠𝑡𝑖𝑐𝑘 𝑡𝑜 ℎ𝑖𝑚.

𝑇𝑜 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑡ℎ𝑒 𝑛𝑒𝑤 𝑃𝑙𝑎𝑐𝑒𝑏𝑜, 𝐵𝑙𝑎𝑐𝑘 𝑀𝑎𝑟𝑘𝑒𝑡 𝑀𝑢𝑠𝑖𝑐, 𝑡ℎ𝑒 𝑔𝑒𝑛𝑡𝑙𝑒𝑚𝑎𝑛 𝑒𝑣𝑒𝑛 𝑎𝑔𝑟𝑒𝑒𝑠 𝑡𝑜 𝑑𝑜 𝑡ℎ𝑒 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑖𝑛 𝐹𝑟𝑒𝑛𝑐ℎ...

◾ 𝑩𝒓𝒊𝒂𝒏, 𝒘𝒉𝒂𝒕 𝒌𝒊𝒏𝒅 𝒐𝒇 𝒈𝒖𝒊𝒕𝒂𝒓 𝒑𝒍𝒂𝒚𝒆𝒓 𝒘𝒆𝒓𝒆 𝒚𝒐𝒖 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒂 𝒌𝒊𝒅?
💬 A bad one. But maybe I still am...

◾ 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒓𝒆𝒂𝒅 𝒈𝒖𝒊𝒕𝒂𝒓 𝒎𝒂𝒈𝒂𝒛𝒊𝒏𝒆𝒔?
💬 No, not really. I'm completely self-taught. When you teach yourself, there are no rules, or at least you don't know them. So you develop your own style. Even mistakes can be beautiful: you have to invent everything, everything is possible. I was especially inspired by Sonic Youth: detune everything, invent a new way of playing, develop it. And all this happened because nobody told me: "𝑂ℎ 𝑦𝑜𝑢 𝑐𝑎𝑛'𝑡 𝑝𝑙𝑎𝑦 𝑙𝑖𝑘𝑒 𝑡ℎ𝑎𝑡"... Of course I can! (𝘭𝘢𝘶𝘨𝘩𝘴). Look: plink! (𝘭𝘢𝘶𝘨𝘩𝘴). Sometimes, some things that people consider awful are actually very "musical". It's an adventure thing I think.

◾ 𝑫𝒐 𝒚𝒐𝒖 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓 𝒚𝒐𝒖𝒓 𝒇𝒊𝒓𝒔𝒕 𝒈𝒖𝒊𝒕𝒂𝒓?
💬 It was an acoustic Aria, which I still have, by the way. And I haven't changed the strings in... pfff, five years. And it's tuned in a very, very interesting way: it only has four strings, and it's a special guitar.

Photo credit: Anja, Wall Backstage, 2000

◾ 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂 𝒓𝒆𝒂𝒍 𝒍𝒐𝒐𝒌, 𝒚𝒐𝒖'𝒓𝒆 𝒒𝒖𝒊𝒕𝒆 𝒄𝒉𝒂𝒓𝒊𝒔𝒎𝒂𝒕𝒊𝒄: 𝒂𝒓𝒆 𝒚𝒐𝒖 𝒕𝒉𝒆 𝒔𝒕𝒂𝒓 𝒂𝒘𝒂𝒊𝒕𝒆𝒅 𝒔𝒊𝒏𝒄𝒆 𝑲𝒖𝒓𝒕 𝑪𝒐𝒃𝒂𝒊𝒏?
💬 Pfff... To be honest, if I answered that question by saying yes, I would be Billie Corgan... It's important not to believe in your myth too much. Otherwise, you start to become a bit of an asshole...

◾ 𝑨𝒏𝒅 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝑩𝒊𝒍𝒍𝒊𝒆 𝑪𝒐𝒓𝒈𝒂𝒏...
💬 ...that he believes in his myth ? Yes. Yes, I do. I'm not going to say things like "𝐼'𝑚 𝑡ℎ𝑒 𝑠𝑜𝑛𝑔𝑤𝑟𝑖𝑡𝑒𝑟 𝑜𝑓 𝑚𝑦 𝑔𝑒𝑛𝑒𝑟𝑎𝑡𝑖𝑜𝑛" etc. etc., otherwise it stalls progress. You always have to keep a certain humility, be your own fiercest critic, to keep learning. I have never considered myself as an extremely revolutionary guitarist. For me, the guitar has always been a "vehicle" for writing songs. I have a very instinctive approach. Stef, on the other hand, learned guitar in music schools: we complement each other very well. We complement each other very well. He has a very technical approach, I'm more abstract. That's why it works.

◾ 𝑩𝒍𝒂𝒄𝒌 𝑴𝒂𝒓𝒌𝒆𝒕 𝑴𝒖𝒔𝒊𝒄 𝒔𝒐𝒖𝒏𝒅𝒔 𝒍𝒆𝒔𝒔 𝒏𝒆𝒈𝒂𝒕𝒊𝒗𝒆 𝒕𝒉𝒂𝒏 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈...
💬 Without You I'm Nothing was made in a rather depressive atmosphere. We weren't very happy. A lot of things that were going on in our lives were quite painful. We had "romantic" problems, let's say: in our personal relationships, we had a lot of problems with our partners, and everything basically came out with the music.

◾ 𝑺𝒐𝒎𝒆 𝒑𝒆𝒐𝒑𝒍𝒆 𝒔𝒂𝒊𝒅 𝒕𝒉𝒂𝒕 𝒊𝒇 𝒘𝒆 𝒇𝒐𝒍𝒍𝒐𝒘 𝒕𝒉𝒆 𝒍𝒐𝒈𝒊𝒄 𝒐𝒇 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈 𝒕𝒐 𝒕𝒉𝒆 𝒆𝒏𝒅, 𝒘𝒆'𝒅 𝒉𝒂𝒗𝒆 𝒕𝒐 𝒔𝒉𝒐𝒐𝒕 𝒐𝒖𝒓𝒔𝒆𝒍𝒗𝒆𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒉𝒆𝒂𝒅 !
💬 Well, I hope not. I still think there's a little bit of hope and optimism in our music, it's not there to create misery. Maybe it's just a window into the dark side of the soul, and of love, because love can be like that: it can give you a lot of joy, but also a lot of pain.

◾ 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈... 𝒕𝒉𝒆 𝒔𝒐𝒏𝒈, 𝒉𝒂𝒔 𝒂𝒍𝒎𝒐𝒔𝒕 𝒃𝒆𝒄𝒐𝒎𝒆 𝒂𝒏 𝒂𝒏𝒕𝒉𝒆𝒎...
💬 It's funny. I'll tell you a story: at the Reading Festival, you know ? Last year, two people got married on the Reading stage. Before the first band, at eleven o'clock in the morning, on Without You I'm Nothing. We really laughed, we couldn't believe it. I always thought there was a great irony: I imagined that a lot of couples might be having sex on that song and on My Sweet Prince, and they're both songs about relationships falling apart: I find that very ironic. Very "depressive" songs but people sing them to each other as proof of love.

Photo credit: Jamie Beeden

◾ 𝑾𝒉𝒚 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒓𝒆-𝒓𝒆𝒄𝒐𝒓𝒅 𝒊𝒕 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆?
💬 We didn't re-record it. He came in, put his voice on it, and we remixed it. In fact, we were going to do a song at the Brit Awards with David. The tradition is to do covers of classic English songs. Since we had done Twentieth Century Boy for Velvet Goldmine, I suggested to David that we do it for the Brits. He said OK. Then he called me and said "𝑊𝑒 𝑠ℎ𝑜𝑢𝑙𝑑 𝑑𝑜 𝑊𝑖𝑡ℎ𝑜𝑢𝑡 𝑌𝑜𝑢, 𝑖𝑡'𝑠 𝑚𝑦 𝑓𝑎𝑣𝑜𝑢𝑟𝑖𝑡𝑒...", I said "𝐼 𝑑𝑜𝑛'𝑡 𝑡ℎ𝑖𝑛𝑘 𝑡ℎ𝑒 𝐵𝑟𝑖𝑡𝑠 𝑤𝑖𝑙𝑙 𝑙𝑖𝑘𝑒 𝑖𝑡...". We asked them and they said, "𝑊𝑒 𝑝𝑟𝑒𝑓𝑒𝑟 𝑇𝑤𝑒𝑛𝑡𝑖𝑒𝑡ℎ 𝐶𝑒𝑛𝑡𝑢𝑟𝑦 𝐵𝑜𝑦." So David and I decided to make it a single: he had already written his harmony, he really wanted to be on this song. It's a huge honour.

◾ 𝑾𝒉𝒚 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒐𝒓𝒌 𝒘𝒊𝒕𝒉 𝑷𝒂𝒖𝒍 𝑪𝒐𝒓𝒌𝒆𝒕𝒕 𝒂𝒈𝒂𝒊𝒏 𝒐𝒏 𝒕𝒉𝒆 𝒑𝒓𝒐𝒅𝒖𝒄𝒕𝒊𝒐𝒏?
💬 Because he was someone, when we met him, that we were sure would become a friend. We could go out for a drink with him. We felt with him the ability to work as a group. We wanted to do a co-production, but we didn't want to work with a big producer with a big back catalogue and the big ego that goes with it... We wanted to work as a team and Corkie (smiles) became one of our closest friends. A bit like Bowie discovered his Visconti.

◾ 𝑺𝒖𝒓𝒑𝒓𝒊𝒔𝒆: 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒔𝒕𝒂𝒓𝒕𝒔 𝒓𝒂𝒑𝒑𝒊𝒏𝒈?
💬 Why ? (𝘭𝘢𝘶𝘨𝘩𝘴)

◾ 𝑻𝒉𝒆 𝒒𝒖𝒆𝒔𝒕𝒊𝒐𝒏 𝒊𝒔 "𝒉𝒐𝒘?" ...
💬 I don't rap the most, Justiin Warfield does. He's not a gangster rapper, that's why we wanted to work with him. He's a very intellectual, literary rapper. Justin wanted to fit perfectly with the Placebo spirit. There was a big hole in the song, on the chorus, it didn't come out, and I don't like to force it, I want it to be instinctive when I write lyrics. The idea came to me: "𝐿𝑒𝑡'𝑠 𝑡𝑟𝑦 𝑟𝑎𝑝, 𝑤𝑒'𝑣𝑒 𝑛𝑒𝑣𝑒𝑟 𝑑𝑜𝑛𝑒 𝑖𝑡 𝑏𝑒𝑓𝑜𝑟𝑒, 𝑏𝑖𝑔 𝑒𝑥𝑝𝑒𝑟𝑖𝑚𝑒𝑛𝑡: 𝑙𝑒𝑡'𝑠 𝑑𝑜 𝑖𝑡 !" We tried it with Justin in Los Angeles, he wrote something great, he came, and bam !

◾ 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒆 𝒇𝒂𝒏𝒔 𝒘𝒊𝒍𝒍 𝒓𝒆𝒂𝒄𝒕?
💬 I think they are scared. But I'm sure that as soon as they hear it, they will understand. Because it works. And we put it on track 4 on purpose, because we wanted to surprise our audience, because we love it, it's very important for us.

Photo credit: Kevin Westenberg

◾ 𝒀𝒐𝒖 𝒍𝒊𝒔𝒕𝒆𝒏𝒆𝒅 𝒂 𝒍𝒐𝒕 𝒕𝒐 𝑷𝒓𝒊𝒎𝒂𝒍 𝑺𝒄𝒓𝒆𝒂𝒎, 𝑨𝒔𝒊𝒂𝒏 𝑫𝒖𝒃 𝑭𝒐𝒖𝒏𝒅𝒂𝒕𝒊𝒐𝒏, 𝒅𝒊𝒅 𝒊𝒕 𝒂𝒘𝒂𝒌𝒆𝒏 𝒂 "𝒑𝒐𝒍𝒊𝒕𝒊𝒄𝒂𝒍 𝒄𝒐𝒏𝒔𝒄𝒊𝒆𝒏𝒄𝒆" 𝒊𝒏 𝒚𝒐𝒖?
💬 It was a bit of an inspiration: it was good to listen to albums that you could dance to but that also made you think. In the pop rock scene today, there are so many "disposable razors". There's not much soul and anger. That's why I love a band like Six By Seven, for example. Their latest album is one of the most vitriolic I've ever heard. A lot of bands have become quite complacent. I've always believed in the motto "Anger is an energy". The fighting spirit, the punk spirit of rock has disappeared, and Oasis is responsible for that, responsible for the dilution of rock. After Oasis, we had Travis, Stereophonics, all that... I really like the Muse album, for example, there's a bombastic side to it. But there's not much that interests us in England.

◾ 𝑹𝒊𝒈𝒉𝒕. 𝑺𝒐 𝒂𝒏𝒔𝒘𝒆𝒓 𝒚𝒆𝒔 𝒐𝒓 𝒏𝒐: 𝒊𝒏 𝒚𝒐𝒖𝒓 𝒐𝒑𝒊𝒏𝒊𝒐𝒏, 𝒊𝒔 𝑶𝒂𝒔𝒊𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒑𝒑𝒆𝒏 𝒕𝒐 𝒕𝒉𝒆 𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒔𝒄𝒆𝒏𝒆?
💬 In a way, yes. But maybe it's also positive because we've created things to go against that. We've got Britney Spears, Cristina Aguilera, Eminem and Limp Bizkit, and we've got Oasis, Travis and Stereophonics, so that creates something: a new underground, I hope.

◾ 𝑳𝒆𝒕'𝒔 𝒌𝒆𝒆𝒑 𝒈𝒐𝒊𝒏𝒈: 𝒘𝒊𝒕𝒉 𝒑𝒓𝒐-𝒕𝒐𝒐𝒍𝒔, 𝒅𝒐𝒏'𝒕 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒊𝒕'𝒔 𝒃𝒆𝒄𝒐𝒎𝒆 𝒕𝒐𝒐 𝒆𝒂𝒔𝒚 𝒕𝒐 𝒎𝒂𝒌𝒆 𝒎𝒖𝒔𝒊𝒄 𝒏𝒐𝒘𝒂𝒅𝒂𝒚𝒔?
💬 Mmm... No. The technology is there to make your life a little easier in the studio. You can have all the machines you want, if you don't have the idea... You have to know what to do with it: your machine has thousands of effects, so you can do anything.

◾ 𝑩𝒖𝒕 𝒚𝒐𝒖 𝒄𝒂𝒏 𝒎𝒂𝒌𝒆 𝒂 𝒓𝒆𝒄𝒐𝒓𝒅 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒆𝒗𝒆𝒓 𝒉𝒂𝒗𝒊𝒏𝒈 𝒃𝒆𝒆𝒏 𝒐𝒏 𝒔𝒕𝒂𝒈𝒆...
💬 That's depriving yourself of the musician's greatest pleasure. It's magical, spiritual...

◾ 𝑰 𝒉𝒆𝒂𝒓𝒅 𝒚𝒐𝒖 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒓𝒆𝒂𝒅 𝒂 𝒍𝒐𝒕...
💬 I read a lot on tour, in planes, tour-buses, hotels when I can't sleep. If I don't have a book with me, I get scared. I left one of my favourite books on a plane, and I'm very disappointed, it was Billie Holiday's autobiography: Lady Sings The Blues. I have the biography of Jacques Brel and Janis Joplin with me: two people I adore.

Photo credit: Karin Catt 

◾ 𝑨𝒏𝒚 𝒐𝒕𝒉𝒆𝒓 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒔?
💬 Cinema: the last film I saw was Boys Don't Cry. The true story of a woman who dressed up as a guy and started to have a man's life, had a girlfriend, etc. And when people found out she was a girl, they raped and killed her. It's quite hard, but it's true. I'm a big fan of Lars Von Trier, and the style of Dogma, Festen, Les Idiots, Breakin' The Waves...

◾ 𝑰𝒕'𝒔 𝒑𝒓𝒆𝒕𝒕𝒚 𝒔𝒑𝒆𝒄𝒊𝒂𝒍 𝒊𝒔𝒏'𝒕 𝒊𝒕?
💬 It's very special but I love it, so I'm looking forward to the release of Dancer In The Dark (𝘣𝘺 𝘓𝘢𝘳𝘴 𝘝𝘰𝘯 𝘛𝘳𝘪𝘦𝘳 𝘸𝘪𝘵𝘩 𝘉𝘫𝘰̈𝘳𝘬).

◾ 𝑺𝒑𝒆𝒂𝒌𝒊𝒏𝒈 𝒐𝒇 𝒊𝒎𝒂𝒈𝒆, 𝒑𝒆𝒐𝒑𝒍𝒆 𝒐𝒇𝒕𝒆𝒏 𝒔𝒂𝒚 𝒂𝒃𝒐𝒖𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐: 𝒕𝒉𝒆𝒚 𝒂𝒓𝒆 𝒂𝒓𝒓𝒐𝒈𝒂𝒏𝒕, 𝒆𝒕𝒄. 𝒀𝒐𝒖𝒓 𝒐𝒑𝒊𝒏𝒊𝒐𝒏?
💬 (𝘚𝘮𝘪𝘭𝘦𝘴 𝘢𝘯𝘥 𝘴𝘩𝘳𝘶𝘨𝘴) Fuck you! (𝘓𝘢𝘶𝘨𝘩𝘴) These are people who don't know us. People who spend time with us know very well that we are quite charming, polite and pleasant people. What we do for a living can make you quite schizophrenic: I find that our sense of humour is too often mistaken for arrogance. We are 'jokers'... (𝘓𝘢𝘶𝘨𝘩𝘴)

◾ 𝒀𝒐𝒖 𝒐𝒇𝒕𝒆𝒏 𝒄𝒐𝒎𝒑𝒍𝒂𝒊𝒏 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 𝒕𝒓𝒆𝒂𝒕𝒎𝒆𝒏𝒕 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒑𝒓𝒆𝒔𝒔...
💬 But that's the English press, isn't it?

◾ 𝑩𝒖𝒕 𝒉𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒅𝒆𝒂𝒍 𝒘𝒊𝒕𝒉 𝒕𝒉𝒊𝒔 𝒑𝒓𝒐𝒃𝒍𝒆𝒎?
💬 Well, I don't read the press anymore (laughs).

◾ 𝑫𝒐 𝒚𝒐𝒖 𝒔𝒕𝒊𝒍𝒍 𝒈𝒊𝒗𝒆 𝒕𝒉𝒆𝒎 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘𝒔?
💬 Yes, absolutely, you have to, but I don't read the interviews anymore. It's easier for the mind.

◾ 𝑾𝒐𝒖𝒍𝒅 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒍𝒊𝒌𝒆 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 𝒂𝒅𝒗𝒊𝒔𝒆 𝒚𝒐𝒖 𝒐𝒏 𝒕𝒉𝒊𝒔 𝒌𝒊𝒏𝒅 𝒐𝒇 𝒕𝒉𝒊𝒏𝒈?
💬 Absolutely. The best advice he ever gave us was not to lose our spontaneity. That's a huge amount of wisdom. Spending time with Bowie, Michael Stipe, Bono, it teaches you a lot of things, including how to be (he hesitates) a "better star". These people are legends: the best thing you learn is that you can be a legend, but you don't have to be a pain in the ass !

◾ 𝑴𝒂𝒓𝒚𝒍𝒊𝒏 𝑴𝒂𝒏𝒔𝒐𝒏 𝒉𝒂𝒔 𝒂 𝒉𝒂𝒓𝒅 𝒕𝒊𝒎𝒆 𝒂𝒔𝒔𝒖𝒎𝒊𝒏𝒈 𝒉𝒊𝒔 𝒊𝒎𝒂𝒈𝒆, 𝒊𝒕 𝒔𝒆𝒆𝒎𝒔...
💬 He shaved his head, it's true: I saw the pictures ! And he only communicates with people on the internet. The interesting thing about managing your image is to do what Bowie did: to be a chameleon, to go through processes of reinvention: it's entertaining, it's fun, you have this freedom to be, why not explore it ? Being in a band is a way of remaining a teenager all your life.

Photo credit: Jamie Beeden

 

◾ 𝑻𝒉𝒆𝒓𝒆 𝒘𝒂𝒔 𝒂 𝒓𝒖𝒎𝒐𝒖𝒓 𝒊𝒏 𝒕𝒉𝒆 𝑩𝒓𝒊𝒕𝒊𝒔𝒉 𝒑𝒓𝒆𝒔𝒔 𝒂𝒃𝒐𝒖𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒏𝒆𝒆𝒅𝒆𝒅 𝒂 𝒎𝒖𝒔𝒊𝒄𝒊𝒂𝒏 𝒃𝒂𝒄𝒌𝒔𝒕𝒂𝒈𝒆 𝒕𝒐 𝒃𝒂𝒄𝒌 𝒚𝒐𝒖 𝒖𝒑 𝒐𝒏 𝒔𝒕𝒂𝒈𝒆?
💬 Backstage? When we're in the studio, we play everything ourselves, we respect the "equilateral" triangle, we're a musical, financial democracy, everything has to be done unanimously. But our sound has become more and more complex. We don't have enough arms, we're not octopuses. So on tour we have an extra person on samples and keyboards, but on stage he's not backstage. For the rest, the trio is respected.

◾ 𝒀𝒐𝒖 𝒂𝒓𝒆 𝒗𝒆𝒓𝒚 𝒂𝒕𝒕𝒂𝒄𝒉𝒆𝒅 𝒕𝒐 𝒕𝒉𝒊𝒔 𝒏𝒐𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒓𝒊𝒐...
💬 I was in Japan, near a Shinto temple, and the translator explained to me that everything starts with the number three. When you enter a Shinto temple, you have to clap three times. It's very interesting for us: in a trio, you have to be one, it's a bit like the Trinity, it brought us together. In fact, we're just a little gang that protects itself.

◾ 𝑾𝒉𝒂𝒕 𝒊𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒑𝒑𝒆𝒏 𝒕𝒐 𝑷𝒍𝒂𝒄𝒆𝒃𝒐?
💬 Plane crash (laughter). Planes scare me: I have a confrontation with my mortality every time I get on a plane, I don't like them at all, but I can't do without. I don't get on a plane without having a couple of vodkas (laughs).

◾ 𝑪𝒂𝒏 𝒘𝒆 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝒂𝒏 𝒂𝒄𝒐𝒖𝒔𝒕𝒊𝒄 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒂𝒍𝒃𝒖𝒎?
💬 I can't predict the future. With our music, we have a very instinctive and emotional approach, we're not very calculating. We don't have a definitive idea of what Placebo should sound like. We never censor ourselves: anyone can play any instrument in the studio.

◾ 𝑳𝒆𝒕'𝒔 𝒕𝒂𝒍𝒌 𝒂𝒃𝒐𝒖𝒕 𝑵𝒂𝒑𝒔𝒕𝒆𝒓: 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒃𝒆 𝒇𝒓𝒊𝒆𝒏𝒅𝒔 𝒘𝒊𝒕𝒉 𝑴𝒆𝒕𝒂𝒍𝒍𝒊𝒄𝒂, 𝒐𝒓 𝒓𝒂𝒕𝒉𝒆𝒓 𝒘𝒊𝒕𝒉 𝑳𝒊𝒎𝒑 𝑩𝒊𝒛𝒌𝒊𝒕, 𝒘𝒉𝒐𝒔𝒆 𝒑𝒂𝒓𝒕𝒏𝒆𝒓 𝒐𝒏 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒕𝒐𝒖𝒓 𝒊𝒔 𝒏𝒐𝒏𝒆 𝒐𝒕𝒉𝒆𝒓 𝒕𝒉𝒂𝒏 𝑵𝒂𝒑𝒔𝒕𝒆𝒓?
💬 (𝘴𝘮𝘪𝘭𝘦𝘴) What you don't know about Limp Bizkit is that they're getting paid two million dollars for their fucking tour by Napster, so it's not free concerts. It's marketing, hypocrisy... Limp Bizkit, fuck you ! I have no problem with people who want to sell their music without a record company, it's very cool to have this freedom on the internet. But imagine: you take ten CDs, you go out without paying, it's theft. This romantic idea, that musicians and artists have to be poor and live in the gutter, and die like Van Gogh before they become successful, for me, is not realistic. You're a journalist, you love what you do, but you have responsibilities: you have to eat, you have to pay the rent, you might have children... Why, because we are artists, should we be the only people in the world to work for free ? At the moment, I don't think that the technology is sufficient for it to be very dangerous.

◾ 𝒀𝒐𝒖𝒓 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝒂𝒍𝒃𝒖𝒎𝒔?
💬 At the moment I'm listening a lot to the Queen Of The Stone Age album, Gainsbourg's Histoire De Melody Nelson, which is one of the great works of all music, and the third Velvet album.

◾ 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂 𝒎𝒂𝒈𝒊𝒄 𝒘𝒂𝒏𝒅 𝒇𝒐𝒓 𝒂 𝒅𝒂𝒚, 𝒘𝒉𝒂𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒅𝒐?
💬 I stop racism, homophobia, and like Bono, I cancel the debt of the third world...

📍 𝙸𝚗𝚝𝚎𝚛𝚟𝚒𝚎𝚠 𝚋𝚢 𝙾𝚕𝚒𝚟𝚒𝚎𝚛 𝚁𝚘𝚞𝚋𝚒𝚗 𝚏𝚘𝚛 𝙶𝚞𝚒𝚝𝚊𝚛 𝙿𝚊𝚛𝚝 𝚗°𝟾0 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸000
🔹 🔷 🔹

🔹 This Guitar Part magazine included a CD with a very special and original musical interview with Brian, who admitted that he "had never done this before" ... 😄

𝘽𝙧𝙞𝙖𝙣 𝙈𝙤𝙡𝙠𝙤 '𝙜𝙪𝙞𝙩𝙖𝙧 𝙞𝙣𝙩𝙚𝙧𝙫𝙞𝙚𝙬'
🎸 https://bit.ly/3OXCuRF 🎸

Translation by Laetitia
Post by Laetitia