⚡𝐍𝐄𝐖 ⚡ with ✨𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋✨ (GUITARWORLD, JULY 2022)

𝐻𝑒𝑙𝑙𝑜 𝑠𝑜𝑢𝑙𝑚𝑎𝑡𝑒𝑠!
It's time to read a 𝐍𝐄𝐖 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 with 𝐒𝐓𝐄𝐅𝐀𝐍  that was published on the website guitarworld.com last Wednesday. In it, 𝑺𝒕𝒆𝒇 talks about the album "𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐" but also goes back in time to tell us how he discovered his passion for music and how he became a multi-instrumentalist musician since he was a young boy, among other things.
Enjoy and share what you liked most about this interview.

Photo credit: Photo Credit: Alessio Tarpini

🎸⭐ 𝐏𝐋𝐀𝐂𝐄𝐁𝐎’𝐒 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋:

“𝑻𝒉𝒆 𝒎𝒐𝒎𝒆𝒏𝒕𝒔 𝒘𝒆 𝒔𝒉𝒂𝒓𝒆𝒅 𝒘𝒊𝒕𝒉 𝑩𝒐𝒘𝒊𝒆, 𝒕𝒉𝒆 𝒕𝒊𝒕𝒃𝒊𝒕𝒔 𝒐𝒇 𝒂𝒅𝒗𝒊𝒄𝒆 – 𝒕𝒉𝒆𝒚’𝒗𝒆 𝒂𝒍𝒍 𝒔𝒕𝒖𝒄𝒌 𝒘𝒊𝒕𝒉 𝒖𝒔. 𝑯𝒂𝒗𝒊𝒏𝒈 𝒉𝒊𝒎 𝒘𝒐𝒓𝒌 𝒘𝒊𝒕𝒉 𝒖𝒔 𝒈𝒂𝒗𝒆 𝒖𝒔 𝒄𝒐𝒏𝒇𝒊𝒅𝒆𝒏𝒄𝒆 𝒕𝒐 𝒌𝒆𝒆𝒑 𝒈𝒐𝒊𝒏𝒈” ⭐🎸

𝙱𝚢 𝙹𝚘𝚎 𝚂𝚑𝚘𝚘𝚖𝚊𝚗 𝟶𝟽.𝟶𝟼.𝟸𝟶𝟸𝟸

𝐓𝐡𝐞 𝐁𝐫𝐢𝐭𝐢𝐬𝐡 𝐚𝐥𝐭-𝐫𝐨𝐜𝐤 𝐬𝐭𝐚𝐥𝐰𝐚𝐫𝐭𝐬 𝐫𝐞𝐭𝐮𝐫𝐧 𝐰𝐢𝐭𝐡 𝐚𝐧 𝐚𝐥𝐛𝐮𝐦 𝐭𝐡𝐚𝐭 𝐬𝐭𝐚𝐫𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐚 𝐩𝐡𝐨𝐭𝐨𝐠𝐫𝐚𝐩𝐡. 𝐀𝐬 𝐎𝐥𝐬𝐝𝐚𝐥 𝐞𝐱𝐩𝐥𝐚𝐢𝐧𝐬, 𝐭𝐡𝐞 𝐮𝐧𝐨𝐫𝐭𝐡𝐨𝐝𝐨𝐱 𝐚𝐩𝐩𝐫𝐨𝐚𝐜𝐡 𝐬𝐨𝐨𝐧 𝐦𝐚𝐝𝐞 𝐬𝐞𝐧𝐬𝐞, 𝐫𝐞𝐦𝐢𝐧𝐝𝐢𝐧𝐠 𝐡𝐢𝐦 𝐰𝐡𝐲 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐦𝐚𝐭𝐭𝐞𝐫𝐞𝐝 𝐢𝐧 𝐭𝐡𝐞 𝐟𝐢𝐫𝐬𝐭 𝐩𝐥𝐚𝐜𝐞

In 2022, says 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 bassist 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, making music includes using challenging and intriguing forms. The band’s eighth album, 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐, had its genesis in 2019 – and 𝑶𝒍𝒔𝒅𝒂𝒍 explains that bandmate 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 came up with a fascinating concept for it.

🎤 “𝘏𝘦 𝘤𝘢𝘮𝘦 𝘵𝘰 𝘮𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘱𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘯𝘰𝘸 𝘰𝘯 𝘵𝘩𝘦 𝘤𝘰𝘷𝘦𝘳, 𝘢𝘯𝘥 𝘣𝘢𝘴𝘪𝘤𝘢𝘭𝘭𝘺 𝘴𝘢𝘪𝘥, ‘𝘓𝘦𝘵’𝘴 𝘵𝘢𝘬𝘦 𝘵𝘩𝘪𝘯𝘨𝘴, 𝘵𝘶𝘳𝘯 𝘵𝘩𝘦𝘮 𝘰𝘯 𝘵𝘩𝘦𝘪𝘳 𝘩𝘦𝘢𝘥, 𝘢𝘯𝘥 𝘸𝘰𝘳𝘬 𝘣𝘢𝘤𝘬𝘸𝘢𝘳𝘥𝘴. 𝘓𝘦𝘵’𝘴 𝘴𝘵𝘢𝘳𝘵 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘱𝘩𝘰𝘵𝘰.’ 𝘐𝘵 𝘸𝘢𝘴 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘵𝘰 𝘴𝘵𝘢𝘳𝘵 𝘢𝘨𝘢𝘪𝘯. 𝘝𝘦𝘯𝘵𝘶𝘳𝘪𝘯𝘨 𝘪𝘯𝘵𝘰 𝘯𝘦𝘸 𝘩𝘰𝘳𝘪𝘻𝘰𝘯𝘴, 𝘴𝘵𝘢𝘳𝘵𝘪𝘯𝘨 𝘢 𝘯𝘦𝘸 𝘤𝘩𝘢𝘱𝘵𝘦𝘳.
“𝘐𝘵 𝘸𝘢𝘴 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦 𝘸𝘦’𝘥 𝘣𝘦𝘨𝘶𝘯 𝘢𝘯 𝘢𝘭𝘣𝘶𝘮 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘢 𝘱𝘦𝘳𝘮𝘢𝘯𝘦𝘯𝘵 𝘥𝘳𝘶𝘮𝘮𝘦𝘳. 𝘐𝘵 𝘩𝘢𝘳𝘬𝘦𝘥 𝘣𝘢𝘤𝘬 𝘵𝘰 𝘵𝘩𝘦 𝘥𝘢𝘺𝘴 𝘰𝘧 𝘮𝘦 𝘢𝘯𝘥 𝘉𝘳𝘪𝘢𝘯 𝘪𝘯 𝘩𝘪𝘴 𝘤𝘰𝘶𝘯𝘤𝘪𝘭 𝘧𝘭𝘢𝘵 𝘫𝘶𝘴𝘵 𝘮𝘦𝘴𝘴𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘣𝘳𝘰𝘬𝘦𝘯 𝘵𝘰𝘺 𝘬𝘦𝘺𝘣𝘰𝘢𝘳𝘥𝘴 𝘢𝘯𝘥 𝘣𝘢𝘥𝘭𝘺-𝘵𝘶𝘯𝘦𝘥 𝘨𝘶𝘪𝘵𝘢𝘳𝘴. 𝘛𝘩𝘦 𝘰𝘯𝘭𝘺 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘤𝘦 𝘪𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘥𝘪𝘥 𝘵𝘩𝘪𝘴 𝘰𝘯𝘦 𝘪𝘯 𝘮𝘺 𝘴𝘵𝘶𝘥𝘪𝘰 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦𝘳𝘦 𝘸𝘦𝘳𝘦 𝘦𝘹𝘱𝘦𝘯𝘴𝘪𝘷𝘦 𝘷𝘪𝘯𝘵𝘢𝘨𝘦 𝘴𝘺𝘯𝘵𝘩𝘴 𝘢𝘯𝘥 𝘨𝘶𝘪𝘵𝘢𝘳𝘴.”

This pared-down writing process brought another freedom to the mix. “𝘐’𝘮 𝘯𝘰𝘵 𝘥𝘪𝘴𝘴𝘪𝘯𝘨 𝘢𝘯𝘺 𝘱𝘳𝘦𝘷𝘪𝘰𝘶𝘴 𝘥𝘳𝘶𝘮𝘮𝘦𝘳𝘴!” he says. “𝘉𝘶𝘵 𝘵𝘩𝘦 𝘮𝘰𝘳𝘦 𝘱𝘦𝘰𝘱𝘭𝘦 𝘵𝘩𝘢𝘵 𝘢𝘳𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘳𝘰𝘰𝘮, 𝘵𝘩𝘦 𝘮𝘰𝘳𝘦 𝘰𝘱𝘪𝘯𝘪𝘰𝘯𝘴 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘵𝘰 𝘵𝘢𝘬𝘦 𝘪𝘯𝘵𝘰 𝘢𝘤𝘤𝘰𝘶𝘯𝘵; 𝘵𝘩𝘦𝘪𝘳 𝘦𝘮𝘰𝘵𝘪𝘰𝘯𝘴, 𝘧𝘦𝘦𝘭𝘪𝘯𝘨𝘴, 𝘢𝘯𝘥 𝘪𝘥𝘦𝘢𝘴. 𝘚𝘰𝘮𝘦𝘵𝘪𝘮𝘦𝘴 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘨𝘦𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘸𝘢𝘺."

The result is an electronics-filled piece of work which, as well as providing the unique 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 crunch, has a subtlety of timbre through its meticulous focus on arrangement.

🎤 “𝘛𝘩𝘦𝘳𝘦’𝘴 𝘢 𝘭𝘰𝘵 𝘰𝘧 𝘴𝘶𝘣-𝘣𝘢𝘴𝘴 𝘰𝘯 𝘵𝘩𝘦 𝘳𝘦𝘤𝘰𝘳𝘥,” confirms 𝑶𝒍𝒔𝒅𝒂𝒍. “𝘚𝘰𝘮𝘦𝘵𝘪𝘮𝘦𝘴 𝘵𝘩𝘢𝘵 𝘵𝘢𝘬𝘦𝘴 𝘱𝘳𝘦𝘤𝘦𝘥𝘦𝘯𝘤𝘦 𝘰𝘷𝘦𝘳 𝘮𝘺 𝘭𝘪𝘷𝘦 𝘣𝘢𝘴𝘴, 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘰𝘯𝘨 𝘚𝘶𝘳𝘳𝘰𝘶𝘯𝘥𝘦𝘥 𝘉𝘺 𝘚𝘱𝘪𝘦𝘴, 𝘧𝘰𝘳 𝘦𝘹𝘢𝘮𝘱𝘭𝘦. 𝘐𝘵 𝘸𝘢𝘴 𝘢𝘣𝘴𝘰𝘭𝘶𝘵𝘦𝘭𝘺 𝘢𝘣𝘰𝘶𝘵 𝘵𝘳𝘺𝘪𝘯𝘨 𝘵𝘰 𝘧𝘪𝘯𝘥 𝘵𝘩𝘦 𝘴𝘱𝘢𝘤𝘦 𝘧𝘰𝘳 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘵𝘰𝘯𝘢𝘭 𝘲𝘶𝘢𝘭𝘪𝘵𝘪𝘦𝘴 𝘢𝘯𝘥 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳𝘪𝘴𝘵𝘪𝘤𝘴, 𝘴𝘰 𝘸𝘦 𝘯𝘦𝘦𝘥𝘦𝘥 𝘵𝘰 𝘧𝘪𝘯𝘥 𝘸𝘩𝘪𝘤𝘩 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵𝘴 𝘴𝘶𝘪𝘵𝘦𝘥 𝘵𝘩𝘦 𝘷𝘪𝘣𝘦 𝘰𝘧 𝘸𝘩𝘢𝘵 𝘸𝘦 𝘸𝘦𝘳𝘦 𝘥𝘰𝘪𝘯𝘨.

🔊 𝐒𝐮𝐫𝐫𝐨𝐮𝐧𝐝𝐞𝐝 𝐁𝐲 𝐒𝐩𝐢𝐞𝐬 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐑𝐨𝐜𝐤 𝐈𝐦 𝐏𝐚𝐫𝐤 𝟐𝟎𝟐𝟐 🎶
https://bit.ly/3AFekqu
“𝘚𝘰𝘮𝘦𝘵𝘪𝘮𝘦𝘴 𝘵𝘩𝘦 𝘧𝘰𝘶𝘳-𝘴𝘵𝘳𝘪𝘯𝘨 𝘣𝘢𝘴𝘴 𝘸𝘢𝘴 𝘵𝘩𝘦𝘳𝘦 𝘵𝘰 𝘢𝘥𝘥 𝘸𝘢𝘳𝘮𝘵𝘩, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘴𝘺𝘯𝘵𝘩 𝘣𝘢𝘴𝘴 𝘢𝘥𝘥𝘦𝘥 𝘦𝘪𝘵𝘩𝘦𝘳 𝘨𝘯𝘢𝘳𝘭𝘪𝘯𝘦𝘴𝘴 𝘰𝘳 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘵𝘩𝘦 𝘦𝘭𝘦𝘤𝘵𝘳𝘰𝘯𝘪𝘤 𝘦𝘭𝘦𝘮𝘦𝘯𝘵 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘱𝘪𝘤𝘵𝘶𝘳𝘦 – 𝘸𝘩𝘪𝘤𝘩 𝘩𝘢𝘴 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘦𝘦𝘯 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵.”

Photo credit: Lilyjadewang  

✨⭐ 𝐏𝐔𝐒𝐇𝐈𝐍𝐆 𝐁𝐎𝐔𝐍𝐃𝐀𝐑𝐈𝐄𝐒 ⭐✨

𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐 continues the band’s interest in loops and effects, and the album’s opener, 𝑭𝒐𝒓𝒆𝒗𝒆𝒓 𝑪𝒉𝒆𝒎𝒊𝒄𝒂𝒍𝒔 is an example of that approach.

🎤 “𝘛𝘩𝘦 𝘢𝘭𝘣𝘶𝘮 𝘣𝘦𝘨𝘪𝘯𝘴 𝘸𝘪𝘵𝘩 𝘢 𝘸𝘦𝘪𝘳𝘥 𝘭𝘰𝘰𝘱 𝘵𝘩𝘢𝘵 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘰𝘧𝘧 𝘢𝘴 𝘢 𝘩𝘢𝘳𝘱, 𝘰𝘯 𝘢𝘯 𝘪𝘗𝘢𝘥. 𝘛𝘩𝘦𝘯 𝘸𝘦 𝘥𝘪𝘴𝘵𝘰𝘳𝘵𝘦𝘥 𝘪𝘵, 𝘱𝘶𝘵 𝘪𝘵 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘷𝘢𝘳𝘪𝘰𝘶𝘴 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘢𝘯𝘥 𝘪𝘯𝘵𝘳𝘰𝘥𝘶𝘤𝘦𝘥 𝘢𝘯 𝘦𝘭𝘦𝘮𝘦𝘯𝘵 𝘰𝘧 𝘦𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘵𝘪𝘰𝘯, 𝘵𝘢𝘬𝘪𝘯𝘨 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴𝘯’𝘵 𝘯𝘦𝘤𝘦𝘴𝘴𝘢𝘳𝘪𝘭𝘺 𝘴𝘶𝘱𝘱𝘰𝘴𝘦𝘥 𝘵𝘰 𝘣𝘦 𝘱𝘭𝘢𝘺𝘦𝘥 𝘪𝘯 𝘢 𝘤𝘦𝘳𝘵𝘢𝘪𝘯 𝘸𝘢𝘺.”

🔊 𝐅𝐨𝐫𝐞𝐯𝐞𝐫 𝐂𝐡𝐞𝐦𝐢𝐜𝐚𝐥𝐬 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐓𝐖 𝐂𝐥𝐚𝐬𝐬𝐢𝐜 𝐖𝐞𝐫𝐜𝐡𝐭𝐞𝐫 𝟐𝟎𝟐𝟐 🎶
https://bit.ly/3ypIBHc

That urge to push at boundaries, says 𝑶𝒍𝒔𝒅𝒂𝒍, is both inherent and valuable.

“𝘠𝘰𝘶 𝘬𝘯𝘰𝘸, 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘷𝘦𝘳𝘺, 𝘷𝘦𝘳𝘺 𝘭𝘰𝘸 𝘵𝘩𝘳𝘦𝘴𝘩𝘰𝘭𝘥𝘴 𝘰𝘧 𝘣𝘰𝘳𝘦𝘥𝘰𝘮. 𝘉𝘳𝘪𝘢𝘯 𝘤𝘢𝘯’𝘵 𝘴𝘵𝘢𝘺 𝘴𝘵𝘪𝘭𝘭 𝘰𝘯 𝘰𝘯𝘦 𝘵𝘩𝘪𝘯𝘨 𝘧𝘰𝘳 𝘷𝘦𝘳𝘺 𝘭𝘰𝘯𝘨, 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵’𝘴 𝘨𝘰𝘰𝘥. 𝘐𝘧 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘵𝘰𝘰 𝘳𝘦𝘮𝘪𝘯𝘪𝘴𝘤𝘦𝘯𝘵 𝘰𝘧 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘸𝘦’𝘷𝘦 𝘥𝘰𝘯𝘦 𝘣𝘦𝘧𝘰𝘳𝘦, 𝘸𝘦 𝘱𝘶𝘭𝘭 𝘦𝘢𝘤𝘩 𝘰𝘵𝘩𝘦𝘳 𝘶𝘱 𝘰𝘯 𝘪𝘵. 𝘛𝘩𝘦 𝘣𝘰𝘵𝘵𝘰𝘮 𝘭𝘪𝘯𝘦 𝘪𝘴 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘮𝘶𝘴𝘪𝘤 𝘪𝘴 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘱𝘢𝘳𝘵.”


📍𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 was born in 𝑮𝒐𝒕𝒉𝒆𝒏𝒃𝒖𝒓𝒈, 𝑺𝒘𝒆𝒅𝒆𝒏 in 1974. It wasn’t too long before music started to speak to him, he says,

🎤 “𝘐 𝘸𝘢𝘴 𝘢𝘣𝘰𝘶𝘵 12, 𝘢𝘯𝘥 𝘐 𝘧𝘰𝘶𝘯𝘥 𝘵𝘩𝘦𝘳𝘦 𝘸𝘢𝘴 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘦𝘳𝘦 𝘵𝘩𝘢𝘵 𝘩𝘦𝘭𝘱𝘦𝘥 𝘮𝘦 𝘵𝘰 𝘦𝘹𝘱𝘳𝘦𝘴𝘴 𝘮𝘺𝘴𝘦𝘭𝘧: 𝘚𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘐 𝘧𝘦𝘭𝘵 𝘸𝘢𝘴 𝘮𝘪𝘯𝘦 𝘪𝘯 𝘮𝘺 𝘦𝘢𝘳𝘭𝘺 𝘵𝘦𝘦𝘯𝘢𝘨𝘦 𝘺𝘦𝘢𝘳𝘴. 𝘐’𝘥 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘵𝘰 𝘪𝘴𝘰𝘭𝘢𝘵𝘦 𝘪𝘯 𝘮𝘺 𝘩𝘦𝘢𝘥 𝘢𝘯𝘥 𝘥𝘪𝘥𝘯’𝘵 𝘳𝘦𝘢𝘭𝘭𝘺 𝘬𝘯𝘰𝘸 𝘩𝘰𝘸 𝘵𝘰 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘤𝘢𝘵𝘦, 𝘰𝘳 𝘤𝘰𝘯𝘯𝘦𝘤𝘵, 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥.

“𝘐 𝘸𝘢𝘴 𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘢𝘪𝘳 𝘥𝘳𝘶𝘮𝘴 𝘵𝘰 𝘘𝘶𝘦𝘦𝘯 𝘪𝘯 𝘵𝘩𝘦 𝘣𝘢𝘤𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘢𝘳 𝘰𝘯𝘦 𝘥𝘢𝘺, 𝘢𝘯𝘥 𝘐 𝘳𝘦𝘢𝘭𝘪𝘻𝘦𝘥 𝘵𝘩𝘢𝘵 𝘐 𝘤𝘰𝘶𝘭𝘥 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 𝘭𝘦𝘢𝘳𝘯 𝘮𝘶𝘴𝘪𝘤, 𝘴𝘰 𝘐 𝘨𝘰𝘵 𝘢 𝘥𝘳𝘶𝘮 𝘬𝘪𝘵 𝘢𝘯𝘥 𝘱𝘭𝘢𝘺𝘦𝘥 𝘢𝘭𝘰𝘯𝘨 𝘵𝘰 𝘸𝘩𝘢𝘵𝘦𝘷𝘦𝘳 𝘮𝘶𝘴𝘪𝘤 𝘸𝘢𝘴 𝘢𝘳𝘰𝘶𝘯𝘥. 𝘛𝘩𝘦 𝘉𝘦𝘢𝘵𝘭𝘦𝘴, 𝘓𝘦𝘥 𝘡𝘦𝘱𝘱𝘦𝘭𝘪𝘯, 𝘐𝘳𝘰𝘯 𝘔𝘢𝘪𝘥𝘦𝘯, 𝘵𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘢𝘭𝘭 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘪𝘹.”

He says that he soon decided to change instruments because he didn’t want to be seated behind the drums and placed at the back of the stage: As he puts it, “𝘈 𝘣𝘪𝘵 𝘰𝘧 𝘷𝘢𝘯𝘪𝘵𝘺 𝘤𝘢𝘮𝘦 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘱𝘪𝘤𝘵𝘶𝘳𝘦, 𝘴𝘰 𝘐 𝘣𝘰𝘶𝘨𝘩𝘵 𝘢 𝘍𝘦𝘯𝘥𝘦𝘳 𝘗𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯.”

Photo credit: Nur Photo

✨💫 𝐓𝐀𝐊𝐈𝐍𝐆 𝐓𝐇𝐄 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 💫 ✨


𝑺𝒕𝒆𝒇𝒂𝒏’s older brother was a guitarist, and as anyone with siblings can confirm, there’s always a blend of rivalry in play. 𝑶𝒍𝒔𝒅𝒂𝒍 the younger decided to learn that instrument too, motivated by the opportunity to outstrip his bro’s chops. His first songwriting efforts followed soon afterwards.

🎤 “𝘛𝘩𝘦𝘳𝘦 𝘸𝘢𝘴 𝘢𝘭𝘴𝘰 𝘢 𝘱𝘪𝘢𝘯𝘰 𝘪𝘯 𝘵𝘩𝘦 𝘩𝘰𝘶𝘴𝘦, 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘦𝘲𝘶𝘢𝘭𝘭𝘺 𝘢𝘱𝘱𝘦𝘢𝘭𝘪𝘯𝘨. 𝘐 𝘴𝘢𝘵 𝘵𝘩𝘦𝘳𝘦 𝘢𝘯𝘥 𝘧𝘪𝘨𝘶𝘳𝘦𝘥 𝘰𝘶𝘵 𝘸𝘩𝘺 𝘐 𝘭𝘪𝘬𝘦𝘥 𝘤𝘦𝘳𝘵𝘢𝘪𝘯 𝘯𝘰𝘵𝘦𝘴 𝘸𝘪𝘵𝘩 𝘰𝘵𝘩𝘦𝘳 𝘯𝘰𝘵𝘦𝘴, 𝘢𝘯𝘥 𝘣𝘢𝘴𝘪𝘤𝘢𝘭𝘭𝘺 𝘵𝘢𝘶𝘨𝘩𝘵 𝘮𝘺𝘴𝘦𝘭𝘧 𝘮𝘶𝘴𝘪𝘤 𝘵𝘩𝘦𝘰𝘳𝘺. 𝘐 𝘵𝘳𝘢𝘯𝘴𝘭𝘢𝘵𝘦𝘥 𝘵𝘩𝘢𝘵 𝘵𝘰 𝘨𝘶𝘪𝘵𝘢𝘳 𝘢𝘯𝘥 𝘣𝘢𝘴𝘴, 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺 𝘢𝘭𝘭 𝘣𝘦𝘤𝘢𝘮𝘦 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘱𝘪𝘤𝘵𝘶𝘳𝘦.

“𝑰 𝒘𝒐𝒖𝒍𝒅 𝒓𝒆𝒄𝒐𝒓𝒅 𝒄𝒐𝒗𝒆𝒓𝒔 𝒐𝒇 𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆 𝒃𝒚 𝒎𝒚𝒔𝒆𝒍𝒇, 𝒑𝒍𝒂𝒚𝒊𝒏𝒈 𝒂𝒍𝒍 𝒕𝒉𝒆 𝒊𝒏𝒔𝒕𝒓𝒖𝒎𝒆𝒏𝒕𝒔, 𝒂𝒏𝒅 𝒔𝒊𝒏𝒈𝒊𝒏𝒈 𝒃𝒂𝒅𝒍𝒚. 𝑰 𝒅𝒐𝒏’𝒕 𝒓𝒆𝒂𝒍𝒍𝒚 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓 𝒎𝒚𝒔𝒆𝒍𝒇 𝒂 𝒃𝒂𝒔𝒔 𝒑𝒍𝒂𝒚𝒆𝒓, 𝒐𝒓 𝒂 𝒈𝒖𝒊𝒕𝒂𝒓 𝒑𝒍𝒂𝒚𝒆𝒓. 𝑰𝒕 𝒘𝒂𝒔 𝒂𝒏 𝒂𝒎𝒂𝒍𝒈𝒂𝒎𝒂𝒕𝒊𝒐𝒏 𝒐𝒇 𝒘𝒂𝒏𝒕𝒊𝒏𝒈 𝒎𝒖𝒔𝒊𝒄 𝒊𝒏 𝒎𝒚 𝒍𝒊𝒇𝒆 𝒓𝒂𝒕𝒉𝒆𝒓 𝒕𝒉𝒂𝒏, ‘𝑰 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒑𝒖𝒕 𝒔𝒐𝒎𝒆 𝒃𝒐𝒕𝒕𝒐𝒎 𝒆𝒏𝒅 𝒕𝒐 𝒕𝒉𝒊𝒔.’”

Enter 𝑴𝒐𝒍𝒌𝒐, who certainly was a guitarist. “𝘛𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦 𝘐 𝘴𝘢𝘸 𝘩𝘪𝘮 𝘱𝘭𝘢𝘺 𝘩𝘦 𝘩𝘢𝘥 𝘢 𝘱𝘦𝘳𝘤𝘶𝘴𝘴𝘪𝘰𝘯𝘪𝘴𝘵 𝘣𝘶𝘵 𝘯𝘰 𝘣𝘢𝘴𝘴𝘪𝘴𝘵, 𝘴𝘰 𝘐 𝘴𝘢𝘪𝘥, ‘𝘏𝘦𝘺...’”

History often pivots on such moments of serendipity, and in 1996 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 released their self-titled debut album. 𝑴𝒐𝒍𝒌𝒐’s experimental post-punk leanings and 𝑶𝒍𝒔𝒅𝒂𝒍’s multi-instrumental nature proved an excellent fit.

🎤 “𝘞𝘦 𝘸𝘦𝘳𝘦 𝘷𝘦𝘳𝘺 𝘺𝘰𝘶𝘯𝘨, 𝘴𝘰 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘴𝘰𝘯𝘨𝘴 𝘰𝘯 𝘵𝘩𝘢𝘵 𝘧𝘪𝘳𝘴𝘵 𝘢𝘭𝘣𝘶𝘮 𝘢𝘳𝘦 𝘢𝘵 𝘢 𝘣𝘳𝘦𝘢𝘬𝘯𝘦𝘤𝘬 𝘴𝘱𝘦𝘦𝘥. 𝘐𝘵 𝘸𝘢𝘴 𝘲𝘶𝘪𝘵𝘦 𝘧𝘦𝘳𝘰𝘤𝘪𝘰𝘶𝘴. 𝘞𝘦 𝘸𝘦𝘳𝘦 𝘵𝘦𝘴𝘵𝘰𝘴𝘵𝘦𝘳𝘰𝘯𝘦-𝘧𝘶𝘦𝘭𝘭𝘦𝘥 20-𝘺𝘦𝘢𝘳-𝘰𝘭𝘥𝘴. 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘸𝘢𝘴 𝘢 𝘵𝘩𝘳𝘦𝘦-𝘱𝘪𝘦𝘤𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘣𝘦𝘨𝘪𝘯𝘯𝘪𝘯𝘨, 𝘴𝘰 𝘰𝘶𝘳 𝘴𝘦𝘯𝘴𝘦 𝘰𝘧 𝘮𝘦𝘭𝘰𝘥𝘺 𝘢𝘯𝘥 𝘴𝘵𝘺𝘭𝘦 𝘸𝘦𝘳𝘦 𝘪𝘯𝘧𝘭𝘶𝘦𝘯𝘤𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘭𝘪𝘮𝘪𝘵𝘢𝘵𝘪𝘰𝘯𝘴 𝘢𝘯𝘥 𝘧𝘳𝘦𝘦𝘥𝘰𝘮𝘴 𝘰𝘧 𝘵𝘩𝘢𝘵.

“𝘈𝘴 𝘸𝘦 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘵𝘰 𝘶𝘴𝘦 𝘵𝘩𝘦 𝘴𝘵𝘶𝘥𝘪𝘰 𝘮𝘰𝘳𝘦 𝘢𝘴 𝘢 𝘵𝘰𝘰𝘭, 𝘐 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘵𝘰 𝘶𝘴𝘦 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘱𝘦𝘥𝘢𝘭𝘴 𝘭𝘪𝘷𝘦 𝘵𝘰 𝘧𝘪𝘭𝘭 𝘪𝘯 𝘵𝘩𝘦 𝘨𝘢𝘱𝘴. 𝘖𝘷𝘦𝘳 𝘵𝘩𝘦 𝘺𝘦𝘢𝘳𝘴 𝘸𝘦’𝘷𝘦 𝘨𝘳𝘢𝘥𝘶𝘢𝘭𝘭𝘺 𝘪𝘯𝘤𝘳𝘦𝘢𝘴𝘦𝘥 𝘵𝘰 𝘴𝘪𝘹 𝘱𝘦𝘰𝘱𝘭𝘦 𝘰𝘯 𝘴𝘵𝘢𝘨𝘦: 𝘛𝘩𝘦 𝘨𝘳𝘢𝘥𝘶𝘢𝘭 𝘦𝘷𝘰𝘭𝘶𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘰𝘶𝘯𝘥, 𝘦𝘮𝘣𝘳𝘢𝘤𝘪𝘯𝘨 𝘰𝘵𝘩𝘦𝘳 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵𝘴.”

Photo credit: Andrés Iglesias  

⭐🎵 𝐉𝐀𝐙𝐙 𝐑𝐎𝐎𝐓𝐒 🎵⭐

𝑺𝒕𝒆𝒇𝒂𝒏’s bass guitars in the early days were a 𝑭𝒆𝒏𝒅𝒆𝒓 𝑱𝒂𝒛𝒛, which he used for the band’s first three LPs. Following that, he switched to a 𝑮𝒊𝒃𝒔𝒐𝒏 𝑻𝒉𝒖𝒏𝒅𝒆𝒓𝒃𝒊𝒓𝒅. For the new record, however, he’s turned back to a tried and trusted instrument.

🎤 “𝘐’𝘥 𝘯𝘰𝘵 𝘶𝘴𝘦𝘥 𝘵𝘩𝘦 𝘗-𝘉𝘢𝘴𝘴 𝘧𝘰𝘳 20 𝘺𝘦𝘢𝘳𝘴 – 𝘪𝘵’𝘴 𝘣𝘦𝘦𝘯 𝘪𝘯 𝘢 𝘭𝘰𝘤𝘬𝘶𝘱 – 𝘣𝘶𝘵 𝘐 𝘸𝘢𝘴 𝘫𝘶𝘴𝘵 𝘥𝘳𝘢𝘸𝘯 𝘵𝘰 𝘪𝘵. 𝘛𝘩𝘦 𝘛-𝘉𝘪𝘳𝘥 𝘤𝘢𝘯 𝘣𝘦 𝘷𝘦𝘳𝘺 𝘩𝘢𝘳𝘥-𝘴𝘰𝘶𝘯𝘥𝘪𝘯𝘨, 𝘸𝘩𝘪𝘤𝘩 𝘪𝘴 𝘨𝘳𝘦𝘢𝘵 𝘢𝘯𝘥 𝘳𝘦𝘴𝘱𝘰𝘯𝘥𝘴 𝘸𝘦𝘭𝘭 𝘵𝘰 𝘥𝘪𝘴𝘵𝘰𝘳𝘵𝘪𝘰𝘯, 𝘣𝘶𝘵 𝘸𝘩𝘦𝘯 𝘪𝘵 𝘤𝘢𝘮𝘦 𝘵𝘰 𝘵𝘩𝘪𝘴 𝘢𝘭𝘣𝘶𝘮 𝘵𝘩𝘦 𝘗𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯 𝘸𝘢𝘴 𝘮𝘰𝘳𝘦 𝘳𝘰𝘶𝘯𝘥𝘦𝘥, 𝘭𝘦𝘴𝘴 𝘢𝘨𝘨𝘳𝘦𝘴𝘴𝘪𝘷𝘦. 𝘐𝘵 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘰𝘶𝘵 𝘮𝘰𝘳𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘦𝘭𝘰𝘥𝘪𝘤 𝘦𝘭𝘦𝘮𝘦𝘯𝘵. 𝘐𝘵 𝘸𝘢𝘴 𝘭𝘪𝘬𝘦, ‘𝘖𝘩, 𝘩𝘦𝘭𝘭𝘰, 𝘰𝘭𝘥 𝘧𝘳𝘪𝘦𝘯𝘥. 𝘓𝘦𝘵’𝘴 𝘩𝘢𝘯𝘨 𝘰𝘶𝘵 𝘢𝘨𝘢𝘪𝘯’. 𝘐𝘵’𝘴 𝘭𝘪𝘬𝘦 𝘺𝘰𝘶’𝘷𝘦 𝘯𝘰𝘵 𝘴𝘦𝘦𝘯 𝘦𝘢𝘤𝘩 𝘰𝘵𝘩𝘦𝘳 𝘧𝘰𝘳 20 𝘺𝘦𝘢𝘳𝘴 𝘣𝘶𝘵 𝘴𝘵𝘪𝘭𝘭, 𝘪𝘵 𝘴𝘦𝘦𝘮𝘴 𝘭𝘪𝘬𝘦 𝘯𝘰 𝘵𝘪𝘮𝘦 𝘩𝘢𝘴 𝘱𝘢𝘴𝘴𝘦𝘥.”

A few years have now passed, though, since the band’s exhausting, lengthy tours. 𝑶𝒍𝒔𝒅𝒂𝒍 still bears scars from those extended travels.

🎤 “𝘛𝘩𝘢𝘵 𝘭𝘢𝘴𝘵 𝘵𝘰𝘶𝘳 𝘸𝘦 𝘥𝘪𝘥 𝘸𝘦𝘯𝘵 𝘰𝘯 𝘧𝘰𝘳𝘦𝘷𝘦𝘳, 𝘢𝘯𝘥 𝘐 𝘩𝘢𝘥 𝘢 𝘳𝘰𝘶𝘨𝘩 𝘵𝘪𝘮𝘦. 𝘐 𝘸𝘢𝘴 𝘴𝘰 𝘥𝘦𝘱𝘭𝘦𝘵𝘦𝘥 𝘢𝘯𝘥 𝘤𝘰𝘶𝘭𝘥𝘯’𝘵 𝘳𝘦𝘢𝘭𝘭𝘺 𝘧𝘪𝘯𝘥 𝘢𝘯𝘺 𝘮𝘦𝘢𝘯𝘪𝘯𝘨 𝘸𝘪𝘵𝘩𝘪𝘯 𝘗𝘭𝘢𝘤𝘦𝘣𝘰.

“𝘐’𝘥 𝘭𝘰𝘴𝘵 𝘢𝘯𝘺 𝘬𝘪𝘯𝘥 𝘰𝘧 𝘳𝘦𝘢𝘴𝘰𝘯 𝘵𝘰 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥. 𝘐𝘵 𝘸𝘢𝘴 𝘵𝘩𝘦 𝘸𝘰𝘳𝘴𝘵, 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭𝘭𝘺, 𝘵𝘩𝘢𝘵 𝘪𝘵’𝘥 𝘦𝘷𝘦𝘳 𝘣𝘦𝘦𝘯, 𝘣𝘶𝘵 𝘵𝘩𝘦 𝘱𝘳𝘰𝘤𝘦𝘴𝘴 𝘰𝘧 𝘮𝘢𝘬𝘪𝘯𝘨 𝘵𝘩𝘪𝘴 𝘳𝘦𝘤𝘰𝘳𝘥 𝘩𝘢𝘴 𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘮𝘦 𝘵𝘰 𝘳𝘦𝘢𝘭𝘭𝘺 𝘦𝘹𝘰𝘳𝘤𝘪𝘴𝘦 𝘵𝘩𝘦 𝘣𝘢𝘥 𝘷𝘪𝘣𝘦𝘴 𝘐 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘸𝘪𝘵𝘩 𝘮𝘦 𝘧𝘳𝘰𝘮 𝘵𝘩𝘢𝘵, 𝘢𝘯𝘥 𝘵𝘰 𝘸𝘰𝘳𝘬 𝘵𝘩𝘪𝘯𝘨𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩.

“𝘔𝘢𝘬𝘪𝘯𝘨 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮 𝘰𝘷𝘦𝘳 𝘵𝘩𝘳𝘦𝘦 𝘺𝘦𝘢𝘳𝘴 𝘳𝘦𝘢𝘭𝘭𝘺 𝘩𝘦𝘭𝘱𝘦𝘥 𝘮𝘦 𝘵𝘰 𝘨𝘦𝘵 𝘮𝘺 𝘩𝘦𝘢𝘥 𝘵𝘰𝘨𝘦𝘵𝘩𝘦𝘳 𝘢𝘯𝘥 𝘶𝘴𝘦 𝘵𝘩𝘦 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘤𝘦𝘴𝘴 𝘵𝘰 𝘳𝘦𝘮𝘪𝘯𝘥 𝘮𝘺𝘴𝘦𝘭𝘧 𝘸𝘩𝘺 𝘐 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘣𝘦 𝘪𝘯 𝘵𝘩𝘪𝘴 𝘣𝘢𝘯𝘥.”

Famously, 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 became a 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 fan after hearing the huge hit 𝑷𝒖𝒓𝒆 𝑴𝒐𝒓𝒏𝒊𝒏𝒈. At the time, the group were absolutely flying and were able, to an extent, to take it in their stride.

🎤 “𝘛𝘰 𝘱𝘳𝘰𝘵𝘦𝘤𝘵 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘧𝘳𝘰𝘮 𝘣𝘦𝘪𝘯𝘨 𝘪𝘯 𝘢𝘸𝘦 𝘢𝘯𝘥 𝘱𝘢𝘳𝘢𝘭𝘺𝘻𝘦𝘥, 𝘸𝘦 𝘭𝘦𝘵 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘳𝘪𝘥𝘦 𝘰𝘯 𝘰𝘶𝘳 𝘤𝘰𝘯𝘧𝘪𝘥𝘦𝘯𝘤𝘦. 𝘛𝘩𝘪𝘯𝘨𝘴 𝘸𝘦𝘳𝘦 𝘨𝘰𝘪𝘯𝘨 𝘰𝘶𝘳 𝘸𝘢𝘺. 𝘛𝘩𝘦 𝘮𝘰𝘮𝘦𝘯𝘵𝘴 𝘸𝘦 𝘴𝘩𝘢𝘳𝘦𝘥 𝘸𝘪𝘵𝘩 𝘉𝘰𝘸𝘪𝘦, 𝘵𝘩𝘦 𝘭𝘪𝘵𝘵𝘭𝘦 𝘵𝘪𝘵𝘣𝘪𝘵𝘴 𝘰𝘧 𝘢𝘥𝘷𝘪𝘤𝘦 – 𝘵𝘩𝘦𝘺’𝘷𝘦 𝘢𝘭𝘭 𝘴𝘵𝘶𝘤𝘬 𝘸𝘪𝘵𝘩 𝘶𝘴. 𝘛𝘩𝘦𝘳𝘦 𝘸𝘢𝘴 𝘢 𝘮𝘢𝘨𝘯𝘪𝘵𝘶𝘥𝘦 𝘵𝘰 𝘩𝘪𝘴 𝘱𝘳𝘦𝘴𝘦𝘯𝘤𝘦, 𝘢𝘯𝘥 𝘩𝘢𝘷𝘪𝘯𝘨 𝘩𝘪𝘮 𝘸𝘢𝘯𝘵 𝘵𝘰 𝘸𝘰𝘳𝘬 𝘸𝘪𝘵𝘩 𝘶𝘴 𝘸𝘢𝘴 𝘢𝘯 𝘢𝘧𝘧𝘪𝘳𝘮𝘢𝘵𝘪𝘰𝘯 𝘵𝘩𝘢𝘵 𝘨𝘢𝘷𝘦 𝘶𝘴 𝘤𝘰𝘯𝘧𝘪𝘥𝘦𝘯𝘤𝘦 𝘵𝘰 𝘬𝘦𝘦𝘱 𝘨𝘰𝘪𝘯𝘨.”

These days, of course, it is 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 who are the elder statesmen inspiring new generations – not that the bassist is comfortable with sitting on that particular throne.

“𝑰 𝒅𝒐𝒏’𝒕 𝒆𝒗𝒆𝒏 𝒕𝒉𝒊𝒏𝒌 𝒂𝒃𝒐𝒖𝒕 𝒊𝒕. 𝑰 𝒘𝒊𝒍𝒍 𝒂𝒍𝒘𝒂𝒚𝒔 𝒃𝒆 𝒕𝒉𝒂𝒕 𝟏𝟐-𝒚𝒆𝒂𝒓-𝒐𝒍𝒅 𝒘𝒉𝒐’𝒔 𝒋𝒖𝒔𝒕 𝒈𝒆𝒕𝒕𝒊𝒏𝒈 𝒆𝒙𝒄𝒊𝒕𝒆𝒅 𝒂𝒃𝒐𝒖𝒕 𝒑𝒍𝒂𝒚𝒊𝒏𝒈.” 🎸✨

▪️𝑶𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝑰𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘
https://bit.ly/3Ikteo6

Post by Rita

🌟𝐓𝐇𝐄 𝐏𝐑𝐎𝐃𝐈𝐆𝐀𝐋 & ‘𝐓𝐇𝐄 𝐁𝐄𝐀𝐓𝐋𝐄𝐒: 𝐆𝐄𝐓 𝐁𝐀𝐂𝐊’ 𝐃𝐎𝐂𝐔𝐌𝐄𝐍𝐓𝐀𝐑𝐘 𝐛𝐲 𝐏𝐄𝐓𝐄𝐑 𝐉𝐀𝐂𝐊𝐒𝐎𝐍🌟

Today, once again, we’re going to search for the sources of Placebo’s inspiration and discover some new connections between their music and other cultural highlights.

Both Brian and Stefan always try and stay up to date about what’s going on in the artistic world, whether it comes to music, books, movies, visual arts or any other kind of creativity – let it just be meaningful and thought-provoking.

Photo credit: Jon Stone; screenshots from the documentary / edit by Olga

🌟Every time I hear Brian or Stef mention they have read or watched something valuable, I go and learn more on the subject immediately. (Who do the same?)
So, here’s an excerpt of the 𝑲𝒆𝒓𝒓𝒂𝒏𝒈! 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘 which became a starting point for my today’s post.

The fifth track on Never Let Me Go, 𝐓𝐡𝐞 𝐏𝐫𝐨𝐝𝐢𝐠𝐚𝐥, pairs a downbeat vocal with spritely orchestral swells. On a record characterised by a love of synthesisers, this organic sound makes it something of a one-off. The track started out differently, though, strikingly similar to the Pixies classic Where Is My Mind? in fact, before producer Adam Noble suggested a change of approach. The finished version is more reminiscent of Eleanor Rigby, bringing Brian and Stefan’s shared love of The Beatles to the fore.

Photo credit: MAGO/Prod.DB 

𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬 - 𝐄𝐥𝐞𝐚𝐧𝐨𝐫 𝐑𝐢𝐠𝐛𝐲
🎵 https://bit.ly/38OsLx6 🎵

𝑩𝒐𝒕𝒉 𝒎𝒆𝒏 𝒈𝒓𝒆𝒆𝒅𝒊𝒍𝒚 𝒅𝒆𝒗𝒐𝒖𝒓𝒆𝒅 𝒕𝒉𝒆 𝒆𝒊𝒈𝒉𝒕 𝒉𝒐𝒖𝒓𝒔 𝒐𝒇 𝑮𝒆𝒕 𝑩𝒂𝒄𝒌, 𝒕𝒉𝒆 𝑷𝒆𝒕𝒆𝒓 𝑱𝒂𝒄𝒌𝒔𝒐𝒏-𝒅𝒊𝒓𝒆𝒄𝒕𝒆𝒅 𝒅𝒐𝒄𝒖𝒎𝒆𝒏𝒕𝒂𝒓𝒚 𝒔𝒆𝒓𝒊𝒆𝒔 𝒐𝒇 𝒏𝒆𝒗𝒆𝒓-𝒃𝒆𝒇𝒐𝒓𝒆-𝒔𝒆𝒆𝒏 𝒇𝒐𝒐𝒕𝒂𝒈𝒆 𝒐𝒇 𝑻𝒉𝒆 𝑭𝒂𝒃 𝑭𝒐𝒖𝒓 𝒕𝒉𝒂𝒕 𝒅𝒂𝒕𝒆𝒔 𝒃𝒂𝒄𝒌 𝒕𝒐 1969. “I felt privileged to be there, that close to one of my favourite bands,” enthuses 𝑺𝒕𝒆𝒇𝒂𝒏. “It’s a gift. And it’s very brave that they let people that close to them.”

Those expecting Placebo to open the archives as freely will be in for a similarly long wait, though, if any such footage exists at all. “That invasion of privacy kind of scares me,” squirms 𝑺𝒕𝒆𝒇𝒂𝒏 in response to the idea of doing something similarly fly-on-the-wall. He certainly practices what he preaches when it comes to avoiding oversharing; earlier when K! asked the location of the studio he’s calling from, he’ll only divulge that it’s “on Planet Earth”.

𝑺𝒕𝒆𝒇𝒂𝒏 has his reasons. “When we started the band, it was something of a dawning for the age of modern technology,” he explains. “We led our lives in private and there wasn’t much intrusion, and we certainly didn’t want to parade ourselves on the red carpet. And that continues today. We’re still private people who don’t feel we need or want to share our personal moments, or intimate moments, or creative moments. It just doesn’t feature on our radar. We’ve chosen to control the narrative as much as possible, so rather than divulging too much, we’ve held back a little.”

𝑩𝒓𝒊𝒂𝒏 agrees, though understands this ethos isn’t for everyone, which is why he wrote Surrounded By Spies; a sleek, throbbing treatise on navigating a world in which some decry being surveilled too much, while others desperately yearn for more limelight. “If you want to talk about your most private moments on social media, if you get validation from that or if you find therapeutic relief from that, or you just want to post your dinner, it’s your prerogative,” reasons 𝑩𝒓𝒊𝒂𝒏. “But just because you do, don’t expect me to. Why should I make the same deal with the devil you made?”

If you’re reading this and are about to suggest that, as someone whose art has put them in the public eye, 𝑩𝒓𝒊𝒂𝒏 can’t have it both ways, then we suggest you don’t. Not to him, anyway. “There’s a kind of tacit pressure for people who are quiet and private like me, that we should be exposing ourselves because you’re a performer,” continues 𝑩𝒓𝒊𝒂𝒏. “But I don’t. I don’t have a Faustian pact with the media. I don’t actively go out there and search for column inches.”
(𝐾𝑒𝑟𝑟𝑎𝑛𝑔, 𝑀𝑎𝑟𝑐ℎ 23, 2022)

Photo credit: Mads Perch

So, let’s take a closer look at the documentary that impressed Brian and Stefan a lot, entertained them during the gloomy lockdown days and inspired creating a truly magical orchestration for 𝐓𝐇𝐄 𝐏𝐑𝐎𝐃𝐈𝐆𝐀𝐋.

𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐓𝐡𝐞 𝐏𝐫𝐨𝐝𝐢𝐠𝐚𝐥
🎵 https://bit.ly/3GicDQR 🎵

🌟 𝐓𝐇𝐄 𝐁𝐄𝐀𝐓𝐋𝐄𝐒: 𝐆𝐄𝐓 𝐁𝐀𝐂𝐊 is a 2021 documentary series that covers the making of the band's 1970 album 𝐋𝐞𝐭 𝐈𝐭 𝐁𝐞 (which had the working title of 𝐆𝐞𝐭 𝐁𝐚𝐜𝐤). It’s directed and produced by 𝑷𝒆𝒕𝒆𝒓 𝑱𝒂𝒄𝒌𝒔𝒐𝒏, the acclaimed director of the 𝐋𝐨𝐫𝐝 𝐨𝐟 𝐓𝐡𝐞 𝐑𝐢𝐧𝐠𝐬 film trilogy, and co-produced by Paul McCartney, Ringo Starr, and the widows of John Lennon (Yoko Ono) and George Harrison (Olivia Harrison).

𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬: 𝐆𝐞𝐭 𝐁𝐚𝐜𝐤 (𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐓𝐫𝐚𝐢𝐥𝐞𝐫)
🎵 https://bit.ly/3wOvRco 🎵
The film is based on over 56 hours of archival never-before-seen footage, shot in January 1969, and over 150 hours of audio stemming. Largely, it’s an unused footage and audio material originally captured for the 1970 documentary Let It Be by Michael Lindsay-Hogg.
The final cut covers 21 𝒅𝒂𝒚𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒔𝒕𝒖𝒅𝒊𝒐 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝑩𝒆𝒂𝒕𝒍𝒆𝒔 as they rehearse for a forthcoming album, concert and film project, and climaxes with the full 42-minute rooftop concert.

𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬: 𝐆𝐞𝐭 𝐁𝐚𝐜𝐤 - 𝐀 𝐒𝐧𝐞𝐚𝐤 𝐏𝐞𝐞𝐤 𝐟𝐫𝐨𝐦 𝐏𝐞𝐭𝐞𝐫 𝐉𝐚𝐜𝐤𝐬𝐨𝐧
🎵 https://bit.ly/3MQ93zQ 🎵

Photo credit: UPI Telephoto

The docuseries has a total runtime of nearly 𝒆𝒊𝒈𝒉𝒕 𝒉𝒐𝒖𝒓𝒔, consisting of 𝒕𝒉𝒓𝒆𝒆 𝒆𝒑𝒊𝒔𝒐𝒅𝒆𝒔 between two and three hours, each covering roughly weekly periods of the studio time.
It premiered with three consecutive daily releases on Disney+ on the Thanksgiving weekend of 25, 26 and 27 November 2021. A portion of it, titled 𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬: 𝐆𝐞𝐭 𝐁𝐚𝐜𝐤 – 𝐓𝐡𝐞 𝐑𝐨𝐨𝐟𝐭𝐨𝐩 𝐂𝐨𝐧𝐜𝐞𝐫𝐭, was given a theatrical release in IMAX theatres across numerous US cities on 30 January 2022. It was then released internationally between 11 and 13 February 2022.

📢 Upon viewing the footage, 𝑷𝒆𝒕𝒆𝒓 𝑱𝒂𝒄𝒌𝒔𝒐𝒏 later stated, he "was relieved to discover the reality is very different to the myth ... Sure, there's moments of drama – but none of the discord this project has long been associated with."

📢 In a news release, 𝑷𝒂𝒖𝒍 𝑴𝒄𝑪𝒂𝒓𝒕𝒏𝒆𝒚 said: "I am really happy that Peter has delved into our archives to make a film that shows the truth about the Beatles recording together", while 𝑹𝒊𝒏𝒈𝒐 𝑺𝒕𝒂𝒓𝒓 echoed: "There was hours and hours of us just laughing and playing music, not at all like the Let It Be film that came out [in 1970]. There was a lot of joy and I think Peter will show that."
Indeed, 𝑱𝒂𝒄𝒌𝒔𝒐𝒏 confirmed that the footage shows The Beatles working under extreme pressure and even as cracks in the relationships show, the music and creativity always shone through🌟

Post by Olga

✨ 🔊 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋 𝐒𝐓𝐄𝐑𝐄𝐎: 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐎𝐅 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 🎶✨

Yesterday finally was released "𝑪𝒐𝒎𝒑𝒍𝒆𝒙", the second album by 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 and today I brought you a great article that I have translated for you, which was published in March 2020 when the pandemic was still not reaching us and they were planning to release this album in that same month. After a very complicated year and a long wait, it is truly a celebration to be able to listen to their new material. Enjoy reading what 𝑴𝒊𝒈𝒖𝒆𝒍 (𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏) and 𝑺𝒕𝒆𝒇𝒂𝒏 tell us in this article and let me know what you think about it.

Photo Credits: Screenshots from concert at de Radio 3 (2021) / Edit by Rita

✨ 🔊 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋 𝐒𝐓𝐄𝐑𝐄𝐎: 𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐎𝐅 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 🎶✨

𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's bassist, is about to release a new album with 𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛 - a.k.a. 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏- called 𝑪𝒐𝒎𝒑𝒍𝒆𝒙 on March 20. It will be the second full-length of this project that debuted in 2015 with the EP 𝑹𝒆𝒃𝒆𝒍𝒍𝒊𝒐𝒏, combining electronic music and strings. On 𝑷𝒆𝒓𝒔𝒐𝒏𝒂𝒍 𝑺𝒕𝒆𝒓𝒆𝒐 of this week 𝑴𝒊𝒈𝒖𝒆𝒍 talks to us about the inspirations behind this work while 𝑺𝒕𝒆𝒇𝒂𝒏 takes the time to tell us about the five albums that changed his life forever.


"𝘛𝘰 𝘵𝘩𝘪𝘴 𝘥𝘢𝘺 𝘵𝘩𝘦 𝘣𝘪𝘨𝘨𝘦𝘴𝘵 𝘴𝘰𝘶𝘳𝘤𝘦 𝘰𝘧 𝘪𝘯𝘴𝘱𝘪𝘳𝘢𝘵𝘪𝘰𝘯 𝘪𝘴 𝘭𝘪𝘧𝘦," says 𝑴𝒊𝒈𝒖𝒆𝒍 𝑳𝒐́𝒑𝒆𝒛

- a.k.a. 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 -, the Spanish producer and musician who has been linked to the electronic scene since the late nineties. The duo he forms together with 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, bassist of 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, released their first extended play in 2015, titled 𝑹𝒆𝒃𝒆𝒍𝒍𝒊𝒐𝒏,

and subsequently their first full-length 𝑰𝒏𝒔𝒊𝒅𝒆 in 2018. 𝑪𝒐𝒎𝒑𝒍𝒆𝒙, their second album, continues to expand this creative relationship where electronic music and strings come together in highly cinematic and catching landscapes.

It will be released next March 20 and, in 𝑴𝒊𝒈𝒖𝒆𝒍's words, "𝘪𝘵 𝘪𝘴 𝘪𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘣𝘺 𝘭𝘪𝘧𝘦 𝘢𝘯𝘥 𝘸𝘩𝘢𝘵 𝘩𝘶𝘳𝘵𝘴 𝘶𝘴 𝘰𝘳 𝘸𝘩𝘢𝘵 𝘧𝘳𝘦𝘦𝘴 𝘶𝘴 𝘧𝘳𝘰𝘮 𝘪𝘵 𝘢𝘯𝘥 𝘮𝘢𝘬𝘦𝘴 𝘶𝘴 𝘸𝘦𝘭𝘭. 𝘌𝘷𝘦𝘳𝘺 𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘩𝘢𝘱𝘱𝘦𝘯𝘴 𝘪𝘯 𝘺𝘰𝘶𝘳 𝘭𝘪𝘧𝘦 𝘭𝘦𝘢𝘥𝘴 𝘺𝘰𝘶 𝘵𝘰 𝘸𝘳𝘪𝘵𝘦 𝘢 𝘭𝘺𝘳𝘪𝘤 𝘰𝘳 𝘤𝘰𝘮𝘱𝘰𝘴𝘦 𝘢 𝘴𝘰𝘯𝘨, 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘦𝘯𝘥𝘴 𝘶𝘱 𝘣𝘦𝘪𝘯𝘨 𝘮𝘶𝘴𝘪𝘤. 𝘛𝘩𝘦 𝘴𝘰𝘯𝘨 '𝘛𝘰𝘨𝘦𝘵𝘩𝘦𝘳' 𝘵𝘢𝘭𝘬𝘴 𝘢𝘣𝘰𝘶𝘵 𝘦𝘴𝘤𝘢𝘱𝘪𝘯𝘨 𝘧𝘳𝘰𝘮 𝘳𝘦𝘢𝘭𝘪𝘵𝘺 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘮𝘶𝘴𝘪𝘤, 𝘦𝘴𝘤𝘢𝘱𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘢 𝘱𝘦𝘳𝘴𝘰𝘯 𝘸𝘩𝘰 𝘮𝘢𝘬𝘦𝘴 𝘺𝘰𝘶 𝘧𝘭𝘺. 𝘐𝘵 𝘦𝘹𝘱𝘳𝘦𝘴𝘴𝘦𝘴 𝘩𝘰𝘸 𝘮𝘶𝘴𝘪𝘤 𝘦𝘷𝘢𝘥𝘦𝘴 𝘶𝘴 𝘢𝘯𝘥 𝘦𝘷𝘦𝘯 𝘱𝘳𝘰𝘵𝘦𝘤𝘵𝘴 𝘶𝘴 -𝘢𝘴 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘮𝘦𝘥𝘪𝘤𝘪𝘯𝘦- 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘵𝘩𝘪𝘯𝘨𝘴 𝘵𝘩𝘢𝘵 𝘩𝘶𝘳𝘵 𝘶𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘳𝘦𝘢𝘭 𝘸𝘰𝘳𝘭𝘥".

Digital 21 a queerfest Saint Petersburg ( Russia).Photo credit: fotovoron 3

⭐ 𝑻𝒐𝒈𝒆𝒕𝒉𝒆𝒓 - 𝑫𝒊𝒈𝒊𝒕𝒂𝒍 𝟐𝟏 + 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 𝑪𝒐𝒏𝒄𝒊𝒆𝒓𝒕𝒐𝒔 𝒅𝒆 𝑹𝒂𝒅𝒊𝒐 𝟑 (𝟐𝟎𝟐𝟏) 🎶
▶️ https://youtu.be/yyjjqDTtXLE


The intention of joining as a duo was to create a sound and a world of their own, and in the seven years of the project's existence the compositions have gone through different textures, making use of winds, strings, giving rise to purely instrumental tracks or with vocals. 𝑪𝒐𝒎𝒑𝒍𝒆𝒙 summarizes this evolution: "𝘵𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘢𝘭𝘭 𝘬𝘪𝘯𝘥𝘴 𝘰𝘧 𝘵𝘦𝘹𝘵𝘶𝘳𝘦𝘴. 𝘚𝘰𝘮𝘦 𝘰𝘧 𝘧𝘳𝘢𝘨𝘪𝘭𝘪𝘵𝘺 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳𝘴 𝘰𝘧 𝘨𝘳𝘦𝘢𝘵 𝘴𝘵𝘳𝘦𝘯𝘨𝘵𝘩. 𝘛𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘪𝘯𝘯𝘦𝘳 𝘴𝘵𝘰𝘳𝘮𝘴 𝘵𝘩𝘢𝘵 𝘢𝘳𝘦 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘵𝘳𝘪𝘯𝘨𝘴 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘺𝘯𝘵𝘩𝘦𝘴𝘪𝘻𝘦𝘳𝘴, 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘭𝘢𝘴𝘩 𝘰𝘧 𝘣𝘰𝘵𝘩. 𝘛𝘩𝘦𝘳𝘦 𝘪𝘴 𝘣𝘦𝘢𝘶𝘵𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘵𝘳𝘪𝘯𝘨 𝘱𝘢𝘴𝘴𝘢𝘨𝘦𝘴, 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘩𝘶𝘳𝘤𝘩 𝘰𝘳𝘨𝘢𝘯 𝘰𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘸𝘪𝘯𝘥 𝘴𝘦𝘤𝘵𝘪𝘰𝘯𝘴. 𝘞𝘦 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦 𝘵𝘰 𝘯𝘶𝘳𝘵𝘶𝘳𝘦 𝘰𝘶𝘳 𝘮𝘢𝘪𝘯 𝘴𝘪𝘥𝘦𝘴: 𝘢 𝘮𝘰𝘳𝘦 𝘦𝘭𝘦𝘤𝘵𝘳𝘰𝘯𝘪𝘤 𝘰𝘯𝘦 -𝘸𝘩𝘪𝘤𝘩 𝘪𝘴 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘸𝘦 𝘱𝘭𝘢𝘺 𝘢𝘵 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭𝘴 𝘰𝘳 𝘤𝘭𝘶𝘣𝘴- 𝘢𝘯𝘥 𝘢 𝘮𝘰𝘳𝘦 𝘪𝘯𝘵𝘪𝘮𝘢𝘵𝘦 𝘰𝘯𝘦, 𝘸𝘩𝘪𝘤𝘩 𝘸𝘰𝘳𝘬𝘴 𝘣𝘦𝘵𝘵𝘦𝘳 𝘪𝘯 𝘢 𝘵𝘩𝘦𝘢𝘵𝘦𝘳 𝘰𝘳 𝘢𝘯 𝘢𝘶𝘥𝘪𝘵𝘰𝘳𝘪𝘶𝘮, 𝘪𝘯 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘪𝘯 𝘤𝘰𝘮𝘱𝘭𝘦𝘵𝘦 𝘴𝘪𝘭𝘦𝘯𝘤𝘦. 𝘓𝘪𝘷𝘦, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘴 𝘵𝘰 𝘨𝘳𝘰𝘸 𝘢𝘯𝘥 𝘯𝘰𝘸 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘦𝘪𝘨𝘩𝘵 𝘮𝘶𝘴𝘪𝘤𝘪𝘢𝘯𝘴 𝘰𝘯 𝘴𝘵𝘢𝘨𝘦, 𝘴𝘵𝘳𝘪𝘯𝘨 𝘲𝘶𝘢𝘳𝘵𝘦𝘵, 𝘵𝘩𝘳𝘦𝘦 𝘷𝘰𝘪𝘤𝘦𝘴, 𝘴𝘺𝘯𝘵𝘩𝘦𝘴𝘪𝘻𝘦𝘳𝘴, 𝘨𝘶𝘪𝘵𝘢𝘳, 𝘣𝘢𝘴𝘴, 𝘥𝘳𝘶𝘮𝘴, 𝘵𝘩𝘦𝘳𝘦𝘮𝘪𝘯, 𝘦𝘵𝘤. 𝘞𝘦 𝘢𝘳𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘪𝘯𝘤𝘰𝘳𝘱𝘰𝘳𝘢𝘵𝘪𝘯𝘨 𝘮𝘰𝘳𝘦 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘴, 𝘮𝘢𝘬𝘪𝘯𝘨 𝘵𝘩𝘦 𝘴𝘰𝘶𝘯𝘥 𝘱𝘢𝘭𝘦𝘵𝘵𝘦 𝘸𝘪𝘥𝘦𝘳".

🔹𝐇𝐨𝐰 𝐢𝐬 𝐭𝐡𝐞 𝐝𝐲𝐧𝐚𝐦𝐢𝐜 𝐰𝐡𝐞𝐧 𝐜𝐨𝐦𝐩𝐨𝐬𝐢𝐧𝐠 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐲𝐨𝐮 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧?
🎤 It's focused on squeezing every note, recording or feeling each song to the maximum. We both like what the other part does in each song. We have the facility to play quite a few instruments and also have our own recording studios, one in London and one in Madrid. So we add up all our instruments and the two studios and our albums come out.


✨🎼 𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂 🎼✨
𝑺𝒕𝒆𝒇𝒂𝒏 founded 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 with 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 in 1994, when the two crossed paths at London's 𝑺𝒐𝒖𝒕𝒉 𝑲𝒆𝒏𝒔𝒊𝒏𝒈𝒕𝒐𝒏 station. They had been schoolmates in Luxembourg, but had not exchanged a word until that moment when they recognized each other. 𝑴𝒐𝒍𝒌𝒐, realizing that 𝑺𝒕𝒆𝒇𝒂𝒏 had a guitar with him, invited him to see a performance of his. Thus was born 𝑨𝒔𝒉𝒕𝒓𝒂𝒚 𝑯𝒆𝒂𝒓𝒕 - the band's original name, taken from 𝑪𝒂𝒑𝒕𝒂𝒊𝒏 𝑩𝒆𝒆𝒇𝒉𝒆𝒂𝒓𝒕.


Besides to being half composer with 𝑩𝒓𝒊𝒂𝒏 of most of 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's catalog, 𝑶𝒍𝒔𝒅𝒂𝒍 was also involved in the production of 𝑩𝒍𝒂𝒄𝒌 𝑴𝒂𝒓𝒌𝒆𝒕 𝑴𝒖𝒔𝒊𝒄, the album that exactly twenty years ago marked the introduction of more electronic sounds in the band's arsenal, evident in the tracks that close the album such as "𝑯𝒂𝒆𝒎𝒐𝒈𝒍𝒐𝒃𝒊𝒏", "𝑵𝒂𝒓𝒄𝒐𝒍𝒆𝒑𝒕𝒊𝒄" or "𝑷𝒆𝒆𝒑𝒊𝒏𝒈 𝑻𝒐𝒎". Here, for 𝑷𝒆𝒓𝒔𝒐𝒏𝒂𝒍 𝑺𝒕𝒆𝒓𝒆𝒐, 𝑺𝒕𝒆𝒇𝒂𝒏 selects the five albums that changed his life and have influenced his own work.


💿𝟏. 𝐃𝐞𝐩𝐞𝐜𝐡𝐞 𝐌𝐨𝐝𝐞: 𝐕𝐢𝐨𝐥𝐚𝐭𝐨𝐫 (1990) 🎶
▶️ https://spoti.fi/3keTANA

🎤 I heard 𝑽𝒊𝒐𝒍𝒂𝒕𝒐𝒓 for the first time while I was kissing my high school girlfriend. I was sixteen and we were in her room. My favorite songs are "𝑾𝒐𝒓𝒍𝒅 𝑰𝒏 𝑴𝒚 𝑬𝒚𝒆𝒔" and "𝑬𝒏𝒋𝒐𝒚 𝑻𝒉𝒆 𝑺𝒊𝒍𝒆𝒏𝒄𝒆". It's an album that is already a classic, that's where they started using guitars and combining them with their synthesizer sound, something they hadn't done in the ten years they had been a band. I like it because they write dark lyrics, and that's why they are best listened to at night. This album also became the soundtrack to the moment when I was coming to terms with my identity and my sexuality. It was a very troubling and emotional time in my life, and 𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆's music helped me deal with some very dark feelings. I've always wanted to emulate that simplicity and style of songwriting in all the musical projects I've been in. 𝑽𝒊𝒐𝒍𝒂𝒕𝒐𝒓 is their most concise and most sublime album, and it's the pinnacle of synth pop.

Photo credit unknown

💿𝟐. 𝐒𝐨𝐧𝐢𝐜 𝐘𝐨𝐮𝐭𝐡 – 𝐆𝐨𝐨 (1990) 🎶
▶️ https://spoti.fi/3qdeDUz

🎤 I first heard 𝑮𝒐𝒐 in London in 1994 in a social housing apartment and that's when 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 put this record on to show me. 𝑮𝒐𝒐 changed the way I saw guitar music until then. My favorite songs are "𝑻𝒖𝒏𝒊𝒄 (𝑺𝒐𝒏𝒈 𝒇𝒐𝒓 𝑲𝒂𝒓𝒆𝒏)" and "𝑴𝒊𝒍𝒅𝒓𝒆𝒅 𝑷𝒊𝒆𝒓𝒄𝒆". They approach their guitars in a pretty punk way, uninterested in all the standard chord shapes and tunings, even creating their own sound passages, almost melodies made with feedback, which is usually seen as just noise or an unwanted by-product of playing electric guitar. Often, when I'm composing something on guitar and I feel that I like what I'm doing, I end up realizing that I'm playing something that 𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉 had already done (laughs). This is their most punkish expression, more melodic but also more abrasive.


💿𝟑. 𝐀𝐁𝐁𝐀 – 𝐓𝐡𝐞 𝐕𝐢𝐬𝐢𝐭𝐨𝐫𝐬 (1981) 🎶
▶️ https://spoti.fi/3C3fc5H

🎤 I first heard 𝑻𝒉𝒆 𝑽𝒊𝒔𝒊𝒕𝒐𝒓𝒔 on my parents' record player when I was a kid in the suburbs of Stockholm. They had parties on Saturdays and invited all their friends, who came to eat, drink and dance. My favorite song is "𝑻𝒉𝒆 𝑫𝒂𝒚 𝑩𝒆𝒇𝒐𝒓𝒆 𝒀𝒐𝒖 𝑪𝒂𝒎𝒆". I love that analog pop sound, and I can just imagine the magnetic tape spinning as 𝑩𝒋𝒐̈𝒓𝒏 and 𝑩𝒆𝒏𝒏𝒚 (the 𝑩's of 𝑨𝑩𝑩𝑨) sit at an old console, putting the finishing touches to that mix, with all the amazing backing vocals and those keyboards and guitars that fit so perfectly. They write perfect pop free of fat and that sounds warm. I have a ritual of dancing to 𝑨𝑩𝑩𝑨, but only for my birthday. They're a bit like cake to me, they're great for once in a while, but if it's too much I don't feel very good. Sometimes I find I do bass lines that remind me of some of their vocal melodies, as the talent they have for hooks is amazing. That's their last album and also the darkest and most melancholic, and that's an emotion that they deal with in a very beautiful way.


💿𝟒. 𝐓𝐡𝐞 𝐁𝐞𝐚𝐭𝐥𝐞𝐬 – 𝐑𝐞𝐯𝐨𝐥𝐯𝐞𝐫 (1966) 🎶
▶️ https://spoti.fi/3q8lVc6

🎤 I first heard 𝑻𝒉𝒆 𝑩𝒆𝒂𝒕𝒍𝒆𝒔' 𝑹𝒆𝒗𝒐𝒍𝒗𝒆𝒓 when I was a thirteen year old teenager, smoking a bunch of cigarettes with a friend in my room after school. My favorite song is "𝑻𝒐𝒎𝒐𝒓𝒓𝒐𝒘 𝑵𝒆𝒗𝒆𝒓 𝑲𝒏𝒐𝒘𝒔". 𝑹𝒆𝒗𝒐𝒍𝒗𝒆𝒓 was my introduction to 60s psychedelic pop. Here there are things like songs where the sitar is the main instrument, and others about life being nothing more than a dream. They were experimenting with recording techniques and sounds, and they were very adventurous with the structures of these songs. I listen to this album and it sounds timeless to me, every time I listen to it I discover new subtleties, even though it was only recorded on four tracks. There are lessons to be learned here, about melody and making a personal musical statement in two minutes. Most of the songs are only that long.

Photo credit: Javier Alonso and Marina Sanz

💿𝟓. 𝐐𝐮𝐞𝐞𝐧𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐒𝐭𝐨𝐧𝐞 𝐀𝐠𝐞 – 𝐒𝐨𝐧𝐠𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐝𝐞𝐚𝐟 (2002) 🎶
▶️ https://spoti.fi/3mSyc24

🎤 I went to 𝑻𝒐𝒘𝒆𝒓 𝑹𝒆𝒄𝒐𝒓𝒅𝒔 in London the same day 𝑺𝒐𝒏𝒈𝒔 𝑭𝒐𝒓 𝑻𝒉𝒆 𝑫𝒆𝒂𝒇 was released, in 2002. I went straight to my house so I could listen to it. My favorite song here is "𝑮𝒐 𝑾𝒊𝒕𝒉 𝑻𝒉𝒆 𝑭𝒍𝒐𝒘". This album made me feel the thrill of being in a rock band again. It's sexy, it's hard, it's melodic, it's motivating and it's as cool as 𝑱𝒐𝒔𝒉 𝑯𝒐𝒎𝒎𝒆 himself. He's like a modern 𝑬𝒍𝒗𝒊𝒔, and he's a huge influence on me as a person and as a musician. I was fortunate to be on tour with him when 𝑸𝒖𝒆𝒆𝒏𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑺𝒕𝒐𝒏𝒆 𝑨𝒈𝒆 released this record and I think I just wanted whatever they inspired me to do. Having 𝑫𝒂𝒗𝒆 𝑮𝒓𝒐𝒉𝒍

on drums is something that separated this record from the others, he is a very accomplished rock drummer with good taste.✪


✒️𝙾𝚛𝚒𝚐𝚒𝚗𝚊𝚕 𝚃𝚎𝚡𝚝: 𝑁𝑢𝑛𝑜 𝑉𝑒𝑙𝑜𝑠𝑜 04.03.2020
▪️𝚂𝚘𝚞𝚛𝚌𝚎: 𝑙𝑎𝑡𝑒𝑟𝑐𝑒𝑟𝑎.𝑐𝑜𝑚
▪️𝚃𝚛𝚊𝚗𝚜𝚕𝚊𝚝𝚒𝚘𝚗 𝚏𝚛𝚘𝚖 𝚂𝚙𝚊𝚗𝚒𝚜𝚑: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦

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