✨🌠 𝐓𝐇𝐄 𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 𝐄𝐅𝐅𝐄𝐂𝐓 🌠✨

𝑻𝒉𝒆 𝑺𝒌𝒊𝒏𝒏𝒚 recently sat down for a pint with 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐, the outspoken singer and songwriter with the consistently popular alternative rock band 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, to ask about the secret of their long-standing success.
📍𝐹𝑒𝑎𝑡𝑢𝑟𝑒 𝑏𝑦 𝑃𝑎𝑢𝑙 𝑀𝑖𝑡𝑐𝒉𝑒𝑙𝑙

📸Photo Credit: Franck Juery, 2009

⭐ 𝑮𝒊𝒗𝒆𝒏 𝒕𝒉𝒆 𝒍𝒐𝒏𝒈𝒆𝒗𝒊𝒕𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒃𝒂𝒏𝒅 (𝟏𝟓 𝒚𝒆𝒂𝒓𝒔 𝒂𝒏𝒅 𝒄𝒐𝒖𝒏𝒕𝒊𝒏𝒈), 𝒉𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒊𝒏𝒅 𝒕𝒉𝒆 𝒎𝒐𝒕𝒊𝒗𝒂𝒕𝒊𝒐𝒏 𝒕𝒐 𝒄𝒐𝒏𝒕𝒊𝒏𝒖𝒆 - 𝒈𝒆𝒏𝒆𝒓𝒂𝒕𝒊𝒏𝒈 𝒇𝒓𝒆𝒔𝒉 𝒊𝒅𝒆𝒂𝒔 𝒚𝒆𝒕 𝒓𝒆𝒎𝒂𝒊𝒏𝒊𝒏𝒈 𝒕𝒓𝒖𝒆 𝒕𝒐 𝒕𝒉𝒆 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒂𝒆𝒔𝒕𝒉𝒆𝒕𝒊𝒄?
🎤 Well, that's the challenging equilibrium you try and strike every time you make a new record: trying to push the boundaries and limits of your sound without repeating yourself. You have to try to do something new, exciting and fresh with the band's sound and play with the band's conceived identity, but at the same time not disregarding what makes you uniquely 'you'.

⭐ 𝑫𝒐𝒆𝒔 𝒕𝒉𝒂𝒕 𝒈𝒆𝒕 𝒕𝒓𝒊𝒄𝒌𝒊𝒆𝒓 𝒂𝒔 𝒚𝒐𝒖 𝒈𝒐 𝒂𝒍𝒐𝒏𝒈?
🎤 I think so! The greater the body of work, the more difficult it becomes to write a fresh song; it becomes a lot more challenging. As far as longevity is concerned, I think if you look at the careers of the likes of The Cure or Depeche Mode - I use those examples because they both released albums this year, 30 years into their career - well they've made music, since day one, purely on their own terms, unaffected, unconcerned by trends, movements and fashion in music. They followed their own path and stuck to their guns, and I think that's why they're still making records which are still worthwhile listening. We're 15 years in, and that's where I'd like to be in another 15. It's not like we have any other options; we're basically unemployable, you know, so this is it.

⭐ 𝑷𝒍𝒂𝒄𝒆𝒃𝒐'𝒔 𝒘𝒐𝒓𝒌 𝒉𝒂𝒔 𝒈𝒆𝒏𝒆𝒓𝒂𝒍𝒍𝒚 𝒂𝒅𝒅𝒓𝒆𝒔𝒔𝒆𝒅 𝒕𝒉𝒆 𝒈𝒓𝒂𝒏𝒅 𝒊𝒅𝒆𝒂𝒔 𝒐𝒇 𝒍𝒐𝒗𝒆, 𝒍𝒐𝒔𝒔, 𝒔𝒂𝒄𝒓𝒊𝒇𝒊𝒄𝒆, 𝒉𝒆𝒅𝒐𝒏𝒊𝒔𝒎 𝒆𝒕𝒄. 𝑨𝒓𝒆 𝒚𝒐𝒖𝒓 𝒑𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆𝒔𝒆 𝒕𝒉𝒆𝒎𝒆𝒔 𝒄𝒉𝒂𝒏𝒈𝒊𝒏𝒈 𝒂𝒔 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒐𝒍𝒅𝒆𝒓?
🎤 I started looking back on my career around the time of Meds [fifth studio album, released in 2006]. As a lyricist I thought I was using a great deal of gimmicks. For example, the whole chemistry/medicine cabinet routine that is Commercial for Levi or a song title that screams 'Look at Me!' that is Nancy Boy! I made a decision that I wanted to stop using gimmicks and address the bigger questions in more everyday language where possible, and try and simplify it, I suppose. Say more by saying less, that's kinda the trip I'm on right now.

⭐ 𝑰𝒔 𝒏𝒐𝒕 𝒂𝒕𝒕𝒆𝒎𝒑𝒕𝒊𝒏𝒈 𝒕𝒐 𝒅𝒆𝒇𝒊𝒏𝒆 '𝒕𝒉𝒆 𝒉𝒖𝒎𝒂𝒏 𝒄𝒐𝒏𝒅𝒊𝒕𝒊𝒐𝒏' 𝒂 𝒓𝒊𝒔𝒌𝒚 𝒆𝒏𝒕𝒆𝒓𝒑𝒓𝒊𝒔𝒆?
🎤 Everybody who writes wants to write stuff that's timeless and doesn't date, really. I think you have to be very careful if you want to do that. You have to tap into the spirit of the age but at the same time write something that transcends it. I don't think that using incredibly culturally specific language enables you to do that. So, I'm trying to transcend that and write something that can stand up to the music that I grew up listening to. Take Leonard Cohen, for example. There's a universality in his music and a simplicity which makes it appreciable and meaningful in any decade, any century really. I think that's what I'm trying to do, hopefully in some way making a difference.

Photo credit: Scarket Page

⭐ 𝑾𝒉𝒆𝒓𝒆'𝒔 𝒕𝒉𝒊𝒔 𝒂𝒑𝒑𝒓𝒐𝒂𝒄𝒉 𝒈𝒐𝒊𝒏𝒈 𝒕𝒐 𝒕𝒂𝒌𝒆 𝒚𝒐𝒖 𝒏𝒆𝒙𝒕?
🎤 Right now I'm just wondering how the hell am I going to survive the next two years of this touring schedule and pull out of this in one piece.

⭐ 𝑶𝒏 𝒑𝒓𝒆𝒗𝒊𝒐𝒖𝒔 𝒗𝒊𝒔𝒊𝒕𝒔 𝒕𝒐 𝑺𝒄𝒐𝒕𝒍𝒂𝒏𝒅 𝒚𝒐𝒖'𝒗𝒆 𝒃𝒆𝒎𝒐𝒂𝒏𝒆𝒅 𝒕𝒉𝒆 𝒔𝒕𝒂𝒕𝒆 𝒐𝒇 𝒑𝒍𝒂𝒚 𝒊𝒏 𝒘𝒐𝒓𝒍𝒅 𝒂𝒇𝒇𝒂𝒊𝒓𝒔, 𝒂𝒏𝒅 𝒘𝒆𝒓𝒆 𝒐𝒏𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒎𝒂𝒏𝒚 𝒐𝒖𝒕𝒔𝒑𝒐𝒌𝒆𝒏 𝒄𝒓𝒊𝒕𝒊𝒄𝒔 𝒐𝒇 𝒕𝒉𝒆 𝒑𝒓𝒆𝒗𝒊𝒐𝒖𝒔 𝑼𝑺 𝑷𝒓𝒆𝒔𝒊𝒅𝒆𝒏𝒄𝒚. 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒕𝒉𝒊𝒏𝒈𝒔 𝒉𝒂𝒗𝒆 𝒄𝒉𝒂𝒏𝒈𝒆𝒅, 𝒊𝒇 𝒂𝒕 𝒂𝒍𝒍?
🎤 It's good to have an intelligent person running one of the most powerful countries and someone who generally cares. I'm less sympathetic towards the economic problems that exist right now than some people might be, because I have never been able to understand the whole culture of living beyond your means. I mean, I've been unemployed for a long time, I've been homeless, I've slept in train stations and I didn't spend money that didn't belong to me. So I find it difficult to be incredibly sympathetic with the culture of avarice that has got us into this position.


The other thing that annoys me about this whole focus on our economic woes is that nobody is talking about the environment anymore, and if anything is going to get us in the ass, it's going to be that. The hole in the ozone layer is still there, 20 years after they discovered it, and it's getting bigger and bigger, yet this isn't news. I want to be involved in the world. I think it comes from being a parent; you want to try and contribute to make a place for your children to grow up in that's hopefully a little bit better than where you were. Unfortunately, it seems that we are heading straight towards some form of environmental armageddon, and perhaps we deserve to go the same way as the dinosaurs for our treatment of the planet.
▪️𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝚃𝚑𝚎 𝚂𝚔𝚒𝚗𝚗𝚢, 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸𝟺, 𝟸𝟶𝟶𝟿.

𝘏𝘦𝘭𝘭𝘰 𝘥𝘦𝘢𝘳 𝘴𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴!

Now I bring to you an interview with 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐, which is a gem from beginning to end as once again he talks to us from his side as a songwriter about how his songwriting style has changed over time, the challenges he faces and what he aspires to achieve in his songs. ⭐🎶

Photo credit: Taratata TV show, 2009

𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 also mentions some of the bands and artists he admires and has covered at some point, so it seemed like a good idea to listen to those songs this afternoon.


🔊 𝐋𝐞𝐭'𝐬 𝐆𝐨 𝐓𝐨 𝐁𝐞𝐝 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐈-𝐃𝐚𝐲𝐬 𝐅𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝟐𝟎𝟏𝟖 🎶
https://bit.ly/3W4YkpQ

🔊 𝐏𝐞𝐫𝐬𝐨𝐧𝐚𝐥 𝐉𝐞𝐬𝐮𝐬 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 (𝐀𝐜𝐨𝐮𝐬𝐭𝐢𝐜) 🎶
https://bit.ly/3FVKVe7

🔊 𝐂𝐡𝐞𝐥𝐬𝐞𝐚 𝐇𝐨𝐭𝐞𝐥 - 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 (𝐋𝐞𝐨𝐧𝐚𝐫𝐝 𝐂𝐨𝐡𝐞𝐧 𝐜𝐨𝐯𝐞𝐫) 🎶
https://bit.ly/3BGNHRV


Another thing that caught my attention in this interview is that 𝑩𝒓𝒊𝒂𝒏's last answer reminded me of what he mentioned about the environment in the Placebo interviews we read earlier this year. A pity that 13 years later things have not changed much, so it is worth remembering that we must take care and value our planet every day with habits that are kind to nature. 🌏

🔊 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 - 𝐓𝐫𝐲 𝐁𝐞𝐭𝐭𝐞𝐫 𝐍𝐞𝐱𝐭 𝐓𝐢𝐦𝐞 🎶
https://bit.ly/3HGYm2G


Post by Rita

🎶𝐓𝐑𝐘 𝐁𝐄𝐓𝐓𝐄𝐑 𝐍𝐄𝐗𝐓 𝐓𝐈𝐌𝐄🎶

𝙄𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙝𝙚 𝙚𝙣𝙙 𝙤𝙛 𝙩𝙝𝙚 𝙬𝙤𝙧𝙡𝙙, 𝙤𝙣𝙡𝙮 𝙩𝙝𝙚 𝙚𝙣𝙙 𝙤𝙛 𝙝𝙪𝙢𝙖𝙣𝙞𝙩𝙮. 𝙈𝙤𝙩𝙝𝙚𝙧 𝙉𝙖𝙩𝙪𝙧𝙚 𝙝𝙖𝙨 𝙜𝙧𝙤𝙬𝙣 𝙚𝙭𝙩𝙧𝙚𝙢𝙚𝙡𝙮 𝙬𝙚𝙖𝙧𝙮 𝙤𝙛 𝙪𝙨. 𝙏𝙧𝙮 𝙗𝙚𝙩𝙩𝙚𝙧 𝙣𝙚𝙭𝙩 𝙩𝙞𝙢𝙚.”
(Brian Molko, NME, January 11th 2022)

“𝐓𝐑𝐘 𝐁𝐄𝐓𝐓𝐄𝐑 𝐍𝐄𝐗𝐓 𝐓𝐈𝐌𝐄” was released as third download single from “Never let me go” on January 11th 2022. It is a disillusioned, disappointed song about our environment. Brian explains: “It’s about the climate disaster presented in a sort of three-minute Weezer-ish kind of pop-punk thing” (Kerrang, March 23th 2022). Brian says that it's hard for him to be optimistic about the future. It's important to people to have hope, but he “wonders if we're already past the point of no return, unfortunately” (see quotes below).

So if you dig deeper into the lyrics “Try better next time” is not only a warning about what could happen if we don't change our ways, but more a song about a major event and the following extinction of human beings. “It's basically saying 'Good riddance, humanity, try better next time'”, Brian stated in an interview, but is presented in an “extremely jolly, upbeat happy, catchy way which is something that we do quite well, present something quite depressing in an upbeat fashion” (Maniacs, March 25th 2022).

He wanted to express himself honestly about the world we are living in today and capture all the confusion that surrounds it. “Try better next time” is based on the theory of evolution. In the point of view of the narrator in the song this means that nature will eventually take over. What is implicit is that the world we destroy day after day will return to its wild state when we disappear. Brian: “Which at this rate may happen sooner than expected. How can I not get the Monday blues when I think about this?” (My Rock, March 2022).

Photo credit: Marc Gommans 

So the lyrics suggest that it is not going to be the end of the world, but the end of the human species. According to Brian “'Try better next time' is kind of saying ‘Just give it up, give it back to the animals. They were here first'. He thinks that it’s “the profit motive itself that’s going to spell the end of our species. As we continue to deify money and the creation of wealth over altruism, we’re getting more and more lost” (DIY, February 18th 2022).

“Try better next time” was recorded at RAK Studios in London and produced by Adam Noble and Placebo. Pietro Garrone of the Italian band Husky Loops played drums on it. Bill Lloyd was involved in the engineering and programming. The song was mastered by Robin Schmidt at 24-96 Mastering in Karlsruhe, Germany. It's an interesting fact that Brian's son Cody is singing the backing vocals on this track.

The song is part of the current “Never let me go” tour. It was first performed live in Paris on March 23rd 2022 at one of the intimate album release shows before the official start of the tour. The shared video of “Try better next time”was recorded at the concert in Mantova, Italy, on June 29th.

📌 𝗕𝗥𝗜𝗔𝗡 𝗢𝗡 “𝗧𝗥𝗬 𝗕𝗘𝗧𝗧𝗘𝗥 𝗡𝗘𝗫𝗧 𝗧𝗜𝗠𝗘" 📌
𝘐𝘯 '𝘛𝘳𝘺 𝘣𝘦𝘵𝘵𝘦𝘳 𝘯𝘦𝘹𝘵 𝘵𝘪𝘮𝘦' 𝘺𝘰𝘶 𝘴𝘪𝘯𝘨 “𝘚𝘰𝘮𝘦𝘣𝘰𝘥𝘺 𝘵𝘢𝘬𝘦 𝘢 𝘱𝘪𝘤𝘵𝘶𝘳𝘦 𝘣𝘦𝘧𝘰𝘳𝘦 𝘪𝘵'𝘴 𝘵𝘰𝘰 𝘭𝘢𝘵𝘦”, 𝘸𝘩𝘪𝘤𝘩 𝘴𝘰𝘶𝘯𝘥𝘴 𝘲𝘶𝘪𝘵𝘦 𝘪𝘳𝘰𝘯𝘪𝘤, 𝘥𝘰𝘯'𝘵 𝘺𝘰𝘶 𝘵𝘩𝘪𝘯𝘬 𝘵𝘩𝘢𝘵 𝘯𝘰𝘸𝘢𝘥𝘢𝘺𝘴 𝘸𝘦 𝘴𝘱𝘦𝘯𝘥 𝘵𝘰𝘰 𝘮𝘶𝘤𝘩 𝘵𝘪𝘮𝘦 𝘵𝘢𝘬𝘪𝘯𝘨 𝘱𝘪𝘤𝘵𝘶𝘳𝘦𝘴 𝘢𝘯𝘥 𝘯𝘰𝘵 𝘳𝘦𝘢𝘭𝘭𝘺 𝘰𝘣𝘴𝘦𝘳𝘷𝘪𝘯𝘨?
📢 “Yes, absolutely. As I said before, it seems that virtual communities have become more important that the ones that exist in our real world. And I think that this aspect has worsened during the pandemic. It is not unusual for people to scroll while watching what is now called ambient TV, for example. When we do that, we're not actually doing anything. We are living in a new place and in a new condition of anesthesia, we are avoiding our thoughts and emotions. In this context, social network become a drug, to the point that people walking along the streets keep looking at their phones, endangering themselves and others. I recently saw what happened to a person who was crossing the street while looking at their phone. She did not survive. It seems that we are on a constant state of escaping. I am not surprised, considering what we have experienced over the last two years, but this anesthesia can only lead us towards disaster and accelerate the extinction of our species. Constantly running away is not good for our mental health, as it is constantly silencing our emotions. Social media addictions are very common today. Even I, with all my cynicism, found myself addicted to Instagram about five years ago. I now limit my time on that platform only during my morning's bowel movement, and it seems appropriate.”
(Rumore, March 2022)

Photo credit: Anieck 

📢 “It’s not going to be the end of the world. It’s just going to be the end of the human species. We call it the end of the world in our incessant hubris and narcissism. 'Try better next time' is kind of a rallying cry saying: ‘Just give it up, give it back to the animals.’ They were here first.”
(The Guardian, November 12th 2021)

📢 “Fuck me. The thing is, these guys, they’re trying to turn themselves into proto conquistadors of outer space. If we get to another planet, Jeff Bezos and Elon Musk will have us paying for our air and poor people won’t be able to breathe. This is the brilliant future that they’re offering us. I mean, it’s already ridiculous that we have to pay for water. Water isn’t a luxury, you know, you can’t live without it. Is there nothing left we haven’t monetised? I’m bored of how everything has to be about making a deal.”
(DIY, February 18th 2022)

📢 “When I talk about the environment, I really don't think that people should listen to me because I have climate depression… I look around and it's difficult for me to get optimistic. I think it's important for people to have hope, and I don't want to come across as some kind of harbinger of doom, but I do wonder if we're already past the point of no return, unfortunately.”
(Vice Magazine, January 17th 2022)

📢 “It’s basically saying, ‘Good riddance humanity, try better next time you come back and get a chance to live on this beautiful planet. It’s a very disillusioned song about the climate disaster presented in a sort of three-minute Weezer-ish kind of pop-punk thing. If you dig deeper, it’s one of the more disturbing songs because it’s talking about an extinction event, you know, the extinction of human beings.”
(Kerrang, March 23th 2022)

Photo credit: Mary Alz 

📢 ”'Try better next time' for me is very much my song about the environment. You know, it's a disillusioned, disappointed song. It's very disappointed in humanity. It's basically saying, 'Good riddance, humanity, try better next time', you know, next time you come back and get a chance to live on this beautiful planet, you know, try better. It's a story about people who live underground, about growing fins and going back to the water. It's a very disillusioned song about the climate disaster presented in a sort of three minute Weezer-ish kind of pop punk thing. If you dig deeper, it's one of the more disturbing songs because it's talking about an extinction event next, you know, the extinction of human beings, but is presented in in in an extremely jolly, upbeat happy, catchy way which is something that we do quite well, present something quite depressing in an upbeat fashion.”
(Maniacs, March 25th 2022)

📢 “Like the other tracks, I wanted to express myself more honestly about what I think of the world today. I wanted to capture all the confusion that surrounds it. This song is based on the theory of evolution. An animal or an insect adapts to its environment, while a human being adapts it according to his moods. What is implicit in this, even beyond what my lyrics or the cover of this record suggest, is that nature will always eventually take over. The world we destroy day after day will return to its wild state when we disappear, which at this rate may happen sooner than expected. How can I not get the Monday blues when I think about this?”
(My Rock, March 2022)

Photo credit: Franz Reiterer

📜 𝗟𝗬𝗥𝗜𝗖𝗦
At the core of the earth
It's too hot to breathe
There's nothing much to eat
And everybody leaves
There's a place in the forest
Where the animals dance
Carefree and joyous
Like nobody's watching
And nobod#neverletmego
So they laugh and they dance around mahogany trees
Completely unawares they're gonna end up as meat
And nobody's watching

Wake up, wake up
Try better next time
Wake up, wake up
Cry better next time
Wake up, wake up
Try better next time
Wake up, wake up

So, you know me
Understand me
Is that what you think?
You haven't met the monster who wakes up when I drink
I was born out of time
I'm not meant to be here
With the weight of the world
And the weight of a tear
Are exactly the same

Wake up, wake up
Try better next time
Wake up, wake up
Cry better next time
Wake up, wake up
Try better next time
Wake up, wake up

There's a spot in the ocean
And that's where we'll meet
Somewhere far away
Where fish can nibble at our feet
And we can grow fins
Go back in the water
Grow fins, go back in the water
Grow fins, go back in the water
Grow fins, go back in the water

Wake up, wake up
Try better next time
Wake up, wake up
Cry better next time
Wake up, wake up
Try better next time
Wake up, wake up

It's a gas, it's a party
On this planet of flakes
Somebody take a picture
Before it's too late

Post by Silke

🌏⭐️𝐓𝐑𝐘 𝐁𝐄𝐓𝐓𝐄𝐑 𝐍𝐄𝐗𝐓 𝐓𝐈𝐌𝐄: 𝐖𝐇𝐀𝐓’𝐒 𝐁𝐄𝐘𝐎𝐍𝐃 𝐓𝐇𝐄 𝐄𝐍𝐕𝐈𝐑𝐎𝐍𝐌𝐄𝐍𝐓𝐀𝐋 𝐓𝐇𝐄𝐌𝐄?⭐️🌏

Placebo always meant their songs to be quite ambiguous, Brian stressed he wanted his lyrics to get a personal meaning for everyone based on their own feelings and experiences. However, it was almost always possible to find out a main theme, a leitmotif, at least, analyzing Brian’s statements on the song and the lyrics directly.

What I noticed with 𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨, is that I’m struggling to even put all my reflections on a certain song in one post!
In most of the songs, there are definitely more than one theme touched, and each of them deserves a profound discussion. (That happened when I wrote about 𝐓𝐡𝐢𝐬 𝐈𝐬 𝐖𝐡𝐚𝐭 𝐘𝐨𝐮 𝐖𝐚𝐧𝐭𝐞𝐝 admitting that I was only talking of one side of its meaning – and you kindly suggested your other opinions).
Today, I want to talk to you about a song which clearly leads us two different directions – connected, of course, but still divided between the verses.

🌏It’s 𝐓𝐑𝐘 𝐁𝐄𝐓𝐓𝐄𝐑 𝐍𝐄𝐗𝐓 𝐓𝐈𝐌𝐄.
I remember this song being simplified by the reviewer to something like “the song about the animals dancing in the forest” …
Well… The 𝒆𝒏𝒗𝒊𝒓𝒐𝒏𝒎𝒆𝒏𝒕𝒂𝒍 𝒕𝒐𝒑𝒊𝒄 seems to be a primary one here, and it certainly is.
▪ ▪ ▪A joyful atmosphere – underlined with an upbeat melody - is broken with a warning of a disaster being foreseen.

𝑺𝒐 𝒕𝒉𝒆𝒚 𝒍𝒂𝒖𝒈𝒉 𝒂𝒏𝒅 𝒕𝒉𝒆𝒚 𝒅𝒂𝒏𝒄𝒆 𝒂𝒓𝒐𝒖𝒏𝒅 𝒎𝒂𝒉𝒐𝒈𝒂𝒏𝒚 𝒕𝒓𝒆𝒆𝒔
𝑪𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒍𝒚 𝒖𝒏𝒂𝒘𝒂𝒓𝒆𝒔 𝒕𝒉𝒆𝒚’𝒓𝒆 𝒈𝒐𝒏𝒏𝒂 𝒆𝒏𝒅 𝒖𝒑 𝒂𝒔 𝒎𝒆𝒂𝒕
𝑨𝒏𝒅 𝒏𝒐𝒃𝒐𝒅𝒚'𝒔 𝒘𝒂𝒕𝒄𝒉𝒊𝒏𝒈

📢𝐁𝐫𝐢𝐚𝐧: Try Better Next Time for me is very much my song about the environment. You know, it's a disillusioned, disappointed song. It’s very disappointed in humanity. It's basically saying, good riddance, humanity, try better next time, you know, next time you come back and get a chance to live on this beautiful planet, you know, try better. It's a story about people who live underground, about growing fins and going back to the water. It's a very disillusioned song about the climate disaster presented in a sort of three minute Weezer-ish kind of pop-punk thing. If you dig deeper, it's one of the more disturbing songs because it's talking about an extinction event next, you know, the extinction of human beings, but is presented in an extremely jolly, upbeat happy, catchy way which is something that we do quite well, present something quite depressing in an upbeat fashion.
(𝑀𝑎𝑛𝑖𝑎𝑐𝑠 𝑂𝑛𝑙𝑖𝑛𝑒, 𝑀𝑒𝑟𝑐ℎ 25𝑡ℎ, 2022)

Photo credit: Mads Perch

▪ ▪ ▪But then comes the second verse…
𝑺𝒐, 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘 𝒎𝒆
𝑼𝒏𝒅𝒆𝒓𝒔𝒕𝒂𝒏𝒅 𝒎𝒆
𝑰𝒔 𝒕𝒉𝒂𝒕 𝒘𝒉𝒂𝒕 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌?
𝒀𝒐𝒖 𝒉𝒂𝒗𝒆𝒏'𝒕 𝒎𝒆𝒕 𝒕𝒉𝒆 𝒎𝒐𝒏𝒔𝒕𝒆𝒓 𝒘𝒉𝒐 𝒘𝒂𝒌𝒆𝒔 𝒖𝒑 𝒘𝒉𝒆𝒏 𝑰 𝒅𝒓𝒊𝒏𝒌

Doesn’t that remind you anything?
"𝒀𝒐𝒖 𝒘𝒐𝒖𝒍𝒅 𝒏𝒐𝒕 𝒍𝒊𝒌𝒆 𝒎𝒆 𝒊𝒇 𝒚𝒐𝒖 𝒌𝒏𝒆𝒘 𝒎𝒆 ..."


The whole quote is from 2009 and speaks about the peak of addiction problems around the Meds time…
📢𝐁𝐫𝐢𝐚𝐧: After so many gigs being drunk or high, I realize how much I disrespected the public. Today, all that I feel on stage is true, while until now all my emotions were distorted by what I was taking ... It exacerbated my discomfort: I was on stage, in front of dozens of people with my face on their T-shirt, who were screaming "I love you" while I hated myself. I wanted to shout to them: "You would not like me if you knew me ..."
(𝐿𝑒𝑠 𝐼𝑛𝑟𝑜𝑐𝑘𝑢𝑝𝑡𝑖𝑏𝑙𝑒𝑠, 𝑀𝑎𝑦 2009)

Photo credit: Henry Ruggeri

💫Brian’s good in “letters to himself”: “Try better next time” [𝑡𝑜 𝑑𝑒𝑎𝑙 𝑤𝑖𝑡ℎ 𝑎𝑑𝑑𝑖𝑐𝑡𝑖𝑜𝑛?] …

A painful confession is immediately followed by the attempts to justify such a behavior with being unable to cope with moments of hopelessness and helplessness.
𝒀𝒐𝒖 𝒂𝒅𝒅𝒓𝒆𝒔𝒔 𝒕𝒉𝒆𝒔𝒆 𝒆𝒏𝒗𝒊𝒓𝒐𝒏𝒎𝒆𝒏𝒕𝒂𝒍 𝒊𝒔𝒔𝒖𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒅𝒚𝒔𝒕𝒐𝒑𝒊𝒂𝒏 𝒂𝒏𝒅 𝒂𝒅𝒅𝒊𝒄𝒕𝒊𝒗𝒆 𝑻𝒓𝒚 𝑩𝒆𝒕𝒕𝒆𝒓 𝑵𝒆𝒙𝒕 𝑻𝑰𝒎𝒆...
📢𝐁𝐫𝐢𝐚𝐧: Like the other tracks, I wanted to express myself more honestly about what I think of the world today. I wanted to capture all the confusion that surrounds it. This song is based on the theory of evolution. An animal or an insect adapts to its environment, while a human being adapts it according to his moods. What is implicit in this, even beyond what my lyrics or the cover of this record suggest, is that nature will always eventually take over. The world we destroy day after day will return to its wild state when we disappear, which at this rate may happen sooner than expected. How can I not get the Monday blues when I think about this? (laughs)
(𝑀𝑦 𝑅𝑜𝑐𝑘 #74, 𝑀𝑎𝑟𝑐ℎ 2022)

A bitter laugh though…


▪ ▪ ▪The third verse brings us back to the post-apocalyptic story.

📢Brian delivers an equally open broadside on the environment crisis, on the scathingly titled, ‘Try Better Next Time’ – obviously, there will be no second chances after planetary destruction. “It talks about growing fins, and going back to the water,” he says, “which is also a nod to Captain Beefheart’s ‘The Spotlight Kid’ obviously.”
He believes that our reckless attitude towards our own living space is simply an extension of our insubstantial culture. “I wonder how disposable everything is going to become until essentially the next disposable thing is us,” he muses. “Is there another species on this planet that deserves an extinction event more than humans? Just look at the way we behave and what we’ve done to our climate. Shouldn’t Mother Nature just wipe us out and give our planet back to the animals?” He smiles.
(𝑆𝑝𝑒𝑎𝑘𝑒𝑎𝑠𝑦, 𝑀𝑎𝑟𝑐ℎ 15, 2022)

Photo credit: Ana Garcia

📢“It’s overgrown with nature and animals have come back,” Molko elaborates, as he sits with his legs crossed, a cigarette balanced elegantly between two fingers, as it has been in press shots since the mid-90s. “Why? Because humans aren’t there. That’s my vision for millennia from now — a planet where animals can thrive again, because we’re continuously destroying it in the name of profit.”
(𝑅𝑜𝑙𝑙𝑖𝑛𝑔 𝑆𝑡𝑜𝑛𝑒 𝑈𝐾, 𝐹𝑒𝑏𝑟𝑢𝑎𝑟𝑦 1𝑠𝑡, 2022)


💫“𝑩𝒆𝒄𝒂𝒖𝒔𝒆 𝒉𝒖𝒎𝒂𝒏𝒔 𝒂𝒓𝒆𝒏’𝒕 𝒕𝒉𝒆𝒓𝒆” ➡ “𝑰'𝒎 𝒏𝒐𝒕 𝒎𝒆𝒂𝒏𝒕 𝒕𝒐 𝒃𝒆 𝒉𝒆𝒓𝒆”

An overwhelming awareness of the global crisis, the feeling of some kind of personal responsibility for the consequences of humankind actions become unbearable.


𝑰 𝒘𝒂𝒔 𝒃𝒐𝒓𝒏 𝒐𝒖𝒕 𝒐𝒇 𝒕𝒊𝒎𝒆
𝑰'𝒎 𝒏𝒐𝒕 𝒎𝒆𝒂𝒏𝒕 𝒕𝒐 𝒃𝒆 𝒉𝒆𝒓𝒆
𝑾𝒊𝒕𝒉 𝒕𝒉𝒆 𝒘𝒆𝒊𝒈𝒉𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒐𝒓𝒍𝒅
𝑨𝒏𝒅 𝒕𝒉𝒆 𝒘𝒆𝒊𝒈𝒉𝒕 𝒐𝒇 𝒂 𝒕𝒆𝒂𝒓
𝑨𝒓𝒆 𝒆𝒙𝒂𝒄𝒕𝒍𝒚 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆

💫To me, these lines feel strongly connected to the ones from 𝐇𝐨𝐥𝐝 𝐎𝐧 𝐓𝐨 𝐌𝐞.

𝑰 𝒂𝒎 𝒂 𝒔𝒎𝒂𝒍𝒍 𝒂𝒏𝒅 𝒈𝒆𝒏𝒕𝒍𝒆 𝒎𝒂𝒏
𝑾𝒉𝒐 𝒄𝒂𝒓𝒓𝒊𝒆𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒍𝒅 𝒖𝒑𝒐𝒏 𝒉𝒊𝒔 𝒔𝒉𝒐𝒖𝒍𝒅𝒆𝒓𝒔

⭐️The video I’m sharing with you tonight was recorded at the 𝐌𝐢𝐥𝐭𝐨𝐧 𝐊𝐞𝐲𝐧𝐞𝐬 concert on 𝐌𝐚𝐲 𝟐𝟏𝐬𝐭, 𝟐𝟎𝟐𝟐. Don’t forget to comment if you’ve been there.

Video by Dave And Ames
Post by Olga

💧 𝙋𝙇𝘼𝘾𝙀𝘽𝙊 𝐖𝐇𝐄𝐍 𝐍𝐀𝐓𝐔𝐑𝐄 𝐓𝐀𝐊𝐄𝐒 𝐎𝐕𝐄𝐑 💧

🌸 𝘋𝘦𝘢𝘳 𝘚𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴, 𝘵𝘰𝘥𝘢𝘺'𝘴 𝘱𝘰𝘴𝘵 𝘪𝘴 𝘥𝘦𝘥𝘪𝘤𝘢𝘵𝘦𝘥 𝘵𝘰 𝘕𝘦𝘷𝘦𝘳 𝘓𝘦𝘵 𝘔𝘦 𝘎𝘰. 𝘛𝘩𝘦 𝘝𝘪𝘯𝘺𝘭𝘦 𝘦𝘵 𝘈𝘶𝘥𝘪𝘰 𝘍𝘳𝘦𝘯𝘤𝘩 𝘮𝘢𝘨𝘢𝘻𝘪𝘯𝘦 𝘮𝘢𝘥𝘦 𝘢𝘯 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵𝘪𝘯𝘨 𝘳𝘦𝘷𝘪𝘦𝘸 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮, 𝘮𝘪𝘹𝘦𝘥 𝘸𝘪𝘵𝘩 𝘸𝘰𝘳𝘥𝘴 𝘧𝘳𝘰𝘮 𝘉𝘳𝘪𝘢𝘯.
𝘏𝘢𝘷𝘦 𝘢 𝘨𝘰𝘰𝘥 𝘳𝘦𝘢𝘥 !

Photo credit: Mads Perch, Vinyle et Audio magazine (cover + page), Edit by Laetitia

🌊 It's been a decade since 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 last released an album, but the long wait is over. The band is finally back with a magnificent record, which flirts as much with the roughness of stoner as with the benevolence of pop, even if the general theme is the end of our world.


🌊 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's new work is entitled 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐, and is addressed directly to planet Earth. Several songs deal with the end of the world. Not because of an atomic war, that would almost be topical, but because of the appalling treatment we have been giving it for years. It is the subject of the third single 𝑻𝒓𝒚 𝑩𝒆𝒕𝒕𝒆𝒓 𝑵𝒆𝒙𝒕 𝑻𝒊𝒎𝒆, a track with a deliberate tempo and an obsessive chorus, but also and above all the theme of the enigmatic cover. An image with no other life than the ebb and flow of the tides...


🥬 𝐒𝐮𝐦𝐩𝐭𝐮𝐨𝐮𝐬𝐥𝐲 𝐝𝐞𝐬𝐨𝐥𝐚𝐭𝐞 𝐥𝐚𝐧𝐝𝐬𝐜𝐚𝐩𝐞 🥬

🌊 So this is what the end of the world might look like, a still life, frozen for eternity in its pictorial beauty. “𝐼𝑡'𝑠 𝑎 𝑝𝑙𝑎𝑐𝑒 𝑡ℎ𝑎𝑡 𝑟𝑒𝑎𝑙𝑙𝑦 𝑒𝑥𝑖𝑠𝑡𝑠," 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 tells us. "𝐼𝑡'𝑠 𝑖𝑛 𝑁𝑜𝑟𝑡ℎ𝑒𝑟𝑛 𝐶𝑎𝑙𝑖𝑓𝑜𝑟𝑛𝑖𝑎 𝑎𝑡 𝐹𝑜𝑟𝑡 𝐵𝑟𝑎𝑔𝑔 𝑡𝑜 𝑏𝑒 𝑒𝑥𝑎𝑐𝑡, 𝑡ℎ𝑖𝑠 𝑏𝑒𝑎𝑐ℎ 𝑤𝑎𝑠 𝑢𝑠𝑒𝑑 𝑓𝑜𝑟 𝑦𝑒𝑎𝑟𝑠 𝑎𝑠 𝑎 𝑔𝑎𝑟𝑏𝑎𝑔𝑒 𝑑𝑢𝑚𝑝. 𝐼𝑡 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑐𝑙𝑒𝑎𝑛𝑒𝑑 𝑜𝑓 𝑖𝑟𝑜𝑛 𝑎𝑛𝑑 ℎ𝑒𝑎𝑣𝑦 𝑚𝑒𝑡𝑎𝑙𝑠, 𝑏𝑢𝑡 𝑛𝑒𝑣𝑒𝑟 𝑜𝑓 𝑖𝑡𝑠 𝑔𝑙𝑎𝑠𝑠 𝑜𝑟 𝑐𝑒𝑟𝑎𝑚𝑖𝑐𝑠 𝑎𝑛𝑑 𝑡ℎ𝑒𝑠𝑒 𝑎𝑓𝑡𝑒𝑟 𝑏𝑒𝑖𝑛𝑔 𝑏𝑟𝑜𝑘𝑒𝑛 𝑎𝑛𝑑 𝑝𝑜𝑙𝑖𝑠ℎ𝑒𝑑 𝑏𝑦 𝑡ℎ𝑒 𝑡𝑖𝑑𝑒𝑠 ℎ𝑎𝑣𝑒 𝑏𝑒𝑐𝑜𝑚𝑒 𝑗𝑒𝑤𝑒𝑙𝑠, 𝑠𝑚𝑜𝑜𝑡ℎ, 𝑚𝑢𝑙𝑡𝑖-𝑐𝑜𝑙𝑜𝑢𝑟𝑒𝑑 𝑝𝑒𝑏𝑏𝑙𝑒𝑠. 𝐺𝑙𝑎𝑠𝑠 𝐵𝑒𝑎𝑐ℎ 𝑖𝑠 𝑎 𝑓𝑎𝑠𝑐𝑖𝑛𝑎𝑡𝑖𝑛𝑔 𝑝𝑙𝑎𝑐𝑒, 𝑡ℎ𝑜𝑢𝑠𝑎𝑛𝑑𝑠 𝑜𝑓 𝑡𝑜𝑢𝑟𝑖𝑠𝑡𝑠 𝑣𝑖𝑠𝑖𝑡 𝑒𝑣𝑒𝑟𝑦 𝑦𝑒𝑎𝑟 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 𝑖𝑡 𝑖𝑠 𝑎 𝑢𝑛𝑖𝑞𝑢𝑒 𝑙𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒. 𝑌𝑜𝑢 𝑎𝑙𝑚𝑜𝑠𝑡 𝑓𝑜𝑟𝑔𝑒𝑡 𝑡ℎ𝑎𝑡 𝑖𝑡 𝑖𝑠 𝑝𝑟𝑖𝑚𝑎𝑟𝑖𝑙𝑦 𝑎 𝑟𝑢𝑏𝑏𝑖𝑠ℎ 𝑏𝑒𝑎𝑐ℎ."


🌊 Many fans will no doubt have in mind the third 𝑮𝒐𝒓𝒊𝒍𝒍𝒂𝒛 album, 𝑷𝒍𝒂𝒔𝒕𝒊𝒄 𝑩𝒆𝒂𝒄𝒉, which dealt with a very close reality, that of the plastic that invades our coasts and is washed up by the ocean. Yet this is only the tip of the iceberg. Another song on this new 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 album perfectly illustrates the negative irreversibility of man's hand on his environment, 𝑭𝒐𝒓𝒆𝒗𝒆𝒓 𝑪𝒉𝒆𝒎𝒊𝒄𝒂𝒍𝒔. "𝐹𝑜𝑟𝑒𝑣𝑒𝑟 𝐶ℎ𝑒𝑚𝑖𝑐𝑎𝑙𝑠 𝑎𝑟𝑒 𝑓𝑢𝑙𝑙𝑦 𝑠𝑦𝑛𝑡ℎ𝑒𝑡𝑖𝑐 𝑐ℎ𝑒𝑚𝑖𝑐𝑎𝑙𝑠 𝑡ℎ𝑎𝑡 𝑝𝑒𝑟𝑠𝑖𝑠𝑡 𝑖𝑛 𝑛𝑎𝑡𝑢𝑟𝑒 𝑏𝑢𝑡 𝑎𝑙𝑠𝑜 𝑖𝑛 𝑜𝑢𝑟 𝑏𝑜𝑑𝑖𝑒𝑠. 𝑇ℎ𝑒𝑟𝑒 𝑖𝑠 𝑎𝑛 𝑎𝑐𝑟𝑜𝑛𝑦𝑚 𝑓𝑜𝑟 𝑡ℎ𝑒𝑠𝑒 𝑝𝑟𝑜𝑑𝑢𝑐𝑡𝑠, 𝑃𝐹𝐴𝑆 (𝘱𝘦𝘳𝘧𝘭𝘶𝘰𝘳𝘰𝘢𝘭𝘬𝘺𝘭𝘢𝘵𝘦𝘥 𝘢𝘯𝘥 𝘱𝘰𝘭𝘺𝘧𝘭𝘶𝘰𝘳𝘰𝘢𝘭𝘬𝘺𝘭𝘢𝘵𝘦𝘥 𝘴𝘶𝘣𝘴𝘵𝘢𝘯𝘤𝘦𝘴), 𝑤ℎ𝑖𝑐ℎ 𝑎𝑟𝑒 ℎ𝑎𝑟𝑚𝑓𝑢𝑙 𝑠𝑢𝑏𝑠𝑡𝑎𝑛𝑐𝑒𝑠 𝑡ℎ𝑎𝑡 𝑛𝑒𝑣𝑒𝑟 𝑏𝑟𝑒𝑎𝑘 𝑑𝑜𝑤𝑛, 𝑒𝑣𝑒𝑛 𝑡ℎ𝑜𝑢𝑔ℎ 𝑡ℎ𝑒𝑦 ℎ𝑎𝑣𝑒 𝑛𝑜 𝑛𝑎𝑡𝑢𝑟𝑎𝑙 𝑜𝑟𝑖𝑔𝑖𝑛. 𝑀𝑎𝑛 𝑖𝑠 𝑡ℎ𝑒𝑟𝑒𝑓𝑜𝑟𝑒 𝑡ℎ𝑒 𝑚𝑎𝑖𝑛 𝑝𝑟𝑒𝑑𝑎𝑡𝑜𝑟 𝑜𝑓 ℎ𝑖𝑚𝑠𝑒𝑙𝑓.”


🌊 PFAS are the result of modern industry. This has contaminated the water, the soil, but also our metabolisms and those of animals. Every day, newborns have tiny chemical residues in them from their parents, the first victims. There is a documentary called 𝑻𝒉𝒆 𝑫𝒆𝒗𝒊𝒍 𝑾𝒆 𝑲𝒏𝒐𝒘 𝒃𝒚 𝑺𝒕𝒆𝒑𝒉𝒂𝒏𝒊𝒆 𝑺𝒐𝒆𝒄𝒉𝒕𝒊𝒈 which tells of the dangers of Teflon, and which questions the potential responsibility of the du Pont de Nemours group. "𝐼𝑡'𝑠 𝑝𝑟𝑒𝑡𝑡𝑦 𝑑𝑒𝑝𝑟𝑒𝑠𝑠𝑖𝑛𝑔, 𝑏𝑢𝑡 𝑖𝑡'𝑠 𝑎 𝑓𝑎𝑐𝑡 𝑎𝑛𝑑 𝐼'𝑚 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑜 𝑏𝑒 𝑠𝑜𝑟𝑟𝑦. 𝐼 𝑤𝑎𝑛𝑡𝑒𝑑 𝑡𝑜 𝑐𝑎𝑝𝑡𝑢𝑟𝑒 𝑡ℎ𝑎𝑡 𝑖𝑛 𝑡ℎ𝑒 𝑎𝑟𝑟𝑎𝑛𝑔𝑒𝑚𝑒𝑛𝑡 𝑜𝑓 𝐹𝑜𝑟𝑒𝑣𝑒𝑟 𝐶ℎ𝑒𝑚𝑖𝑐𝑎𝑙𝑠, 𝑖𝑡'𝑠 𝑖𝑚𝑚𝑒𝑑𝑖𝑎𝑡𝑒𝑙𝑦 𝑐𝑎𝑡𝑐ℎ𝑦 𝑏𝑢𝑡 𝑎𝑙𝑠𝑜 𝑣𝑒𝑟𝑦 𝑏𝑟𝑢𝑡𝑎𝑙. 𝑇ℎ𝑎𝑡'𝑠 𝑤ℎ𝑦 𝑡ℎ𝑖𝑠 𝑠𝑜𝑛𝑔 𝑎𝑝𝑝𝑒𝑎𝑟𝑠 𝑓𝑖𝑟𝑠𝑡 𝑜𝑛 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚, 𝑖𝑡'𝑠 𝑎𝑛 𝑖𝑛𝑡𝑟𝑜𝑑𝑢𝑐𝑡𝑖𝑜𝑛 𝑜𝑟 𝑟𝑎𝑡ℎ𝑒𝑟 𝑎𝑛 𝑖𝑛𝑣𝑖𝑡𝑎𝑡𝑖𝑜𝑛 𝑡𝑜 𝑣𝑖𝑠𝑖𝑡 𝑜𝑢𝑟 𝑤𝑜𝑟𝑙𝑑 𝑎𝑠 𝑖𝑡 𝑟𝑒𝑎𝑙𝑙𝑦 𝑖𝑠."

Gorillaz - Plastic Beach cover

🥬 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐧𝐨𝐰 𝐚 𝐝𝐮𝐨 🥬

🌊 If 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 hadn't recorded anything for a long time - their last album 𝑳𝒐𝒖𝒅 𝑳𝒊𝒌𝒆 𝑳𝒐𝒗𝒆 dates back to September 2013 - it's also because the last tour had exhausted the troops. Many countries, many festivals, something like 150 dates spread over two years, but above all performances that were increasingly dehumanised. Chronicle of a death foretold, the band saw no point in an immediate sequel, everything came to a gradual halt in 2018. The trio became a duo.


🌊 The months passed and so did the years, the truce imposed by the pandemic and the lockdown had taken everyone by surprise. But 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 couldn't celebrate his 50th birthday alone in front of his TV screen with a lunch tray, so he started the machine again, slowly but firmly. "𝐼 𝑡ℎ𝑖𝑛𝑘 𝑖𝑡 𝑤𝑎𝑠 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑖𝑚𝑒 𝑎 𝑡𝑜𝑢𝑟 𝑤𝑎𝑠 𝑡ℎ𝑎𝑡 𝑙𝑜𝑛𝑔, 𝑡ℎ𝑎𝑡 𝑡𝑒𝑑𝑖𝑜𝑢𝑠. 𝐴𝑐𝑡𝑢𝑎𝑙𝑙𝑦, 𝑖𝑡'𝑠 𝑎 𝑏𝑖𝑡 𝑐𝑜𝑛𝑓𝑢𝑠𝑖𝑛𝑔, 𝑏𝑢𝑡 𝑡ℎ𝑒𝑟𝑒 𝑤𝑎𝑠 𝑡ℎ𝑒 𝐿𝑜𝑢𝑑 𝐿𝑖𝑘𝑒 𝐿𝑜𝑣𝑒 𝑡𝑜𝑢𝑟, 𝑎𝑛𝑑 𝑡ℎ𝑒𝑛 𝑎𝑙𝑚𝑜𝑠𝑡 𝑖𝑚𝑚𝑒𝑑𝑖𝑎𝑡𝑒𝑙𝑦 𝑡ℎ𝑒 𝑡𝑤𝑒𝑛𝑡𝑦-𝑦𝑒𝑎𝑟 𝑎𝑛𝑛𝑖𝑣𝑒𝑟𝑠𝑎𝑟𝑦 𝑡𝑜𝑢𝑟. 𝐻𝑜𝑤 𝑠𝑖𝑙𝑙𝑦 ! 𝑇ℎ𝑎𝑡 𝑜𝑛𝑒 𝑤𝑎𝑠 𝑐𝑜𝑚𝑝𝑙𝑒𝑡𝑒𝑙𝑦 𝑢𝑛𝑛𝑒𝑐𝑒𝑠𝑠𝑎𝑟𝑦. 𝐼 𝑤𝑎𝑠 𝑖𝑛 𝑡ℎ𝑒 𝑚𝑖𝑑𝑑𝑙𝑒 𝑜𝑓 𝑎𝑛 𝑒𝑔𝑜 𝑐𝑟𝑖𝑠𝑖𝑠, 𝐼 𝑤𝑎𝑛𝑡𝑒𝑑 𝑏𝑖𝑔𝑔𝑒𝑟 𝑎𝑛𝑑 𝑏𝑖𝑔𝑔𝑒𝑟 𝑣𝑒𝑛𝑢𝑒𝑠, 𝑖𝑡 𝑤𝑎𝑠 𝑚𝑜𝑟𝑒 𝑎𝑏𝑜𝑢𝑡 𝑏𝑢𝑠𝑖𝑛𝑒𝑠𝑠 𝑡ℎ𝑎𝑛 𝑚𝑢𝑠𝑖𝑐. 𝐼 ℎ𝑎𝑑 𝑙𝑜𝑠𝑡 𝑡ℎ𝑒 𝑒𝑛𝑡ℎ𝑢𝑠𝑖𝑎𝑠𝑚 𝑜𝑓 𝑡ℎ𝑒 𝑒𝑎𝑟𝑙𝑦 𝑑𝑎𝑦𝑠, 𝑏𝑢𝑡 𝐼 𝑡ℎ𝑖𝑛𝑘 𝑖𝑡 𝑤𝑎𝑠 𝑔𝑜𝑜𝑑 𝑎𝑓𝑡𝑒𝑟 𝑎𝑙𝑙. 𝐼 𝑠𝑡𝑜𝑝𝑝𝑒𝑑 𝑡𝑎𝑙𝑘𝑖𝑛𝑔 𝑎𝑏𝑜𝑢𝑡 𝑚𝑦𝑠𝑒𝑙𝑓, 𝑎𝑛𝑑 𝐼 𝑙𝑜𝑜𝑘𝑒𝑑 𝑎𝑡 𝑡ℎ𝑒 𝑠𝑡𝑎𝑡𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑝𝑙𝑎𝑛𝑒𝑡, 𝑡ℎ𝑒𝑟𝑒 𝑤𝑎𝑠 𝑤𝑜𝑟𝑘 𝑡𝑜 𝑑𝑜 !"


🌊 To bounce back, you have to hit rock bottom. 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 and 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, his lifelong partner, were in the studio. They no longer needed a drummer, a position that was always a bit shaky for them, drum machines and occasional volunteers would do. It was like a return to the early days, when they both found themselves locked in a studio trying to combine their talents for the first time. At the American International High School in Luxembourg, they didn't hang out. However, from that day in 1994 when they met on the London underground, an instant complicity took place. They never left each other's side.


🌊 The first songs quickly appeared and also simply found a large following. But a quarter of a century later, they don't really know how to approach a follow-up. Then a simple but strange idea came up. Why not approach the new album from the end ? First think of the packaging, the cover, then improvise the content, the songs...


🌊 It's a risky business, but it works. "𝑊𝑒 𝑤𝑒𝑟𝑒 𝑎𝑙𝑚𝑜𝑠𝑡 𝑓𝑖𝑛𝑖𝑠ℎ𝑒𝑑 𝑤ℎ𝑒𝑛 𝐵𝑜𝑟𝑖𝑠 𝐽𝑜ℎ𝑛𝑠𝑜𝑛 𝑎𝑝𝑝𝑒𝑎𝑟𝑒𝑑 𝑜𝑛 𝑇𝑉 𝑡ℎ𝑎𝑡 𝑒𝑣𝑒𝑛𝑖𝑛𝑔 𝑖𝑛 𝑀𝑎𝑟𝑐ℎ 2020 𝑡𝑜 𝑡𝑒𝑙𝑙 𝑢𝑠 𝑡ℎ𝑎𝑡 𝑤𝑒 𝑤𝑒𝑟𝑒 𝑔𝑜𝑖𝑛𝑔 𝑡𝑜 ℎ𝑎𝑣𝑒 𝑡𝑜 𝑤𝑎𝑖𝑡 𝑎𝑛𝑑 𝑖𝑛 𝑡ℎ𝑒 𝑚𝑒𝑎𝑛𝑡𝑖𝑚𝑒 𝑠𝑡𝑎𝑦 𝑎𝑡 ℎ𝑜𝑚𝑒. 𝑊𝑒 𝑤𝑒𝑟𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑠𝑡𝑢𝑑𝑖𝑜 𝑤𝑖𝑡ℎ 𝑆𝑡𝑒𝑓𝑎𝑛, 𝑎𝑛𝑑 𝐼 𝑟𝑒𝑚𝑒𝑚𝑏𝑒𝑟 𝑤𝑒 𝑑𝑖𝑑𝑛'𝑡 𝑒𝑣𝑒𝑛 𝑘𝑛𝑜𝑤 𝑖𝑓 𝑤𝑒 𝑠ℎ𝑜𝑢𝑙𝑑 𝑙𝑒𝑎𝑣𝑒 𝑒𝑣𝑒𝑟𝑦𝑡ℎ𝑖𝑛𝑔 𝑏𝑒ℎ𝑖𝑛𝑑 𝑎𝑛𝑑 𝑟𝑢𝑛 𝑓𝑜𝑟 𝑡ℎ𝑒 𝑠𝑎𝑓𝑒𝑡𝑦 𝑜𝑓 𝑜𝑢𝑟 ℎ𝑜𝑚𝑒𝑠. 𝐷𝑢𝑟𝑖𝑛𝑔 𝑡ℎ𝑒 𝑙𝑜𝑐𝑘𝑑𝑜𝑤𝑛, 𝑤𝑒 𝑟𝑒𝑓𝑖𝑛𝑒𝑑 𝑎𝑛𝑑 𝑒𝑛𝑗𝑜𝑦𝑒𝑑 𝑜𝑢𝑟 𝑓𝑎𝑚𝑖𝑙𝑖𝑒𝑠 (𝑏𝑜𝑡ℎ 𝑎𝑟𝑒 𝑑𝑎𝑑𝑠), 𝑎𝑙𝑠𝑜 𝑤𝑎𝑡𝑐ℎ𝑒𝑑 𝑠𝑜𝑚𝑒 𝑠𝑒𝑟𝑖𝑒𝑠. 𝑊ℎ𝑖𝑐ℎ 𝐼 𝑛𝑒𝑣𝑒𝑟 𝑑𝑜."


🌊 There is a song on this record 𝑺𝒖𝒓𝒓𝒐𝒖𝒏𝒅𝒆𝒅 𝑩𝒚 𝑺𝒑𝒊𝒆𝒔, the theme of which tells a true story about 𝑩𝒓𝒊𝒂𝒏. One day he found out that his neighbours were spying on him. It is true that his private life has always fascinated the media. Ever since he revealed his bisexuality, ever since he became the father of a boy turned actor, with 𝑯𝒆𝒍𝒆𝒏𝒂 𝑩𝒆𝒓𝒈, 𝑪𝒐𝒅𝒚 𝑴𝒐𝒍𝒌𝒐 has appeared in the Netflix series 𝑺𝒉𝒂𝒅𝒐𝒘 𝑨𝒏𝒅 𝑩𝒐𝒏𝒆. Since admitting to using a few recreational drugs. Since he became a star, in fact. "𝐼 𝑓𝑒𝑙𝑡 𝑙𝑖𝑘𝑒 𝐼 𝑤𝑎𝑠 𝑖𝑛 𝑎 𝐺𝑒𝑜𝑟𝑔𝑒 𝑂𝑟𝑤𝑒𝑙𝑙 𝑛𝑜𝑣𝑒𝑙. 𝑇ℎ𝑒 𝑜𝑛𝑙𝑦 𝑔𝑜𝑜𝑑 𝑡ℎ𝑖𝑛𝑔 𝑖𝑠 𝑡ℎ𝑎𝑡 𝑖𝑡 𝑚𝑎𝑑𝑒 𝑚𝑒 𝑡ℎ𝑖𝑛𝑘 𝑎𝑏𝑜𝑢𝑡 𝑎𝑙𝑙 𝑡ℎ𝑒𝑠𝑒 𝑠𝑢𝑟𝑣𝑒𝑖𝑙𝑙𝑎𝑛𝑐𝑒 𝑐𝑎𝑚𝑒𝑟𝑎𝑠 𝑎𝑟𝑜𝑢𝑛𝑑 𝑢𝑠, 𝑎𝑙𝑙 𝑡ℎ𝑒𝑠𝑒 𝑐𝑜𝑚𝑝𝑢𝑡𝑒𝑟𝑠 𝑡ℎ𝑎𝑡 𝑐𝑎𝑛 𝑟𝑒𝑐𝑜𝑟𝑑 𝑢𝑠 𝑤𝑖𝑡ℎ𝑜𝑢𝑡 𝑜𝑢𝑟 𝑘𝑛𝑜𝑤𝑙𝑒𝑑𝑔𝑒. 𝐼 𝑤𝑜𝑛𝑑𝑒𝑟𝑒𝑑 𝑎𝑏𝑜𝑢𝑡 𝑚𝑦 𝑓𝑟𝑒𝑒𝑑𝑜𝑚. 𝑊ℎ𝑎𝑡 ℎ𝑎𝑠 𝑏𝑒𝑐𝑜𝑚𝑒 𝑜𝑓 𝑖𝑡 ?"

Photo credit: Jon Stone

🥬 𝐃𝐢𝐬𝐢𝐥𝐥𝐮𝐬𝐢𝐨𝐧𝐦𝐞𝐧𝐭 𝐚𝐧𝐝 𝐢𝐧𝐬𝐨𝐦𝐧𝐢𝐚 🥬

🌊 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐's record deals with heavy themes that instinctively come up in conversation: the ecological disaster, the evils of the internet, the bottomless pits of instagram narcissism, and the deep disappointment that humanity has become. Early in their career, the songs were about the emotions of adolescence and were therefore very introspective. The band had not yet found its place in this world and was looking for ways to occupy it. Today, they have woken up and are finally willing to share their anxieties, as the closing track 𝑭𝒊𝒙 𝒀𝒐𝒖𝒓𝒔𝒆𝒍𝒇 seems to indicate. Alas, the disillusionment is huge, and the fight to be waged is colossal.


🌊 It is a harsh and dark awakening, after years of various slumbers, and an anesthesia induced by easy fortune. 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 has sold around thirteen million albums. But 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 didn't want to repeat a recipe, they prefer to question everything. This fits in well with their original premise, acting differently has given a new relief to their music, particularly successful and lively on this record. And so much the worse if the 6 strings have become here a melodic support to the synthesizers rather than a conductor of the orchestra, because it is particularly vivifying.


🌊 "𝐿𝑎𝑡𝑒𝑙𝑦 𝐼 ℎ𝑎𝑣𝑒 𝑏𝑒𝑒𝑛 𝑢𝑛𝑎𝑏𝑙𝑒 𝑡𝑜 𝑠𝑙𝑒𝑒𝑝 𝑑𝑢𝑒 𝑡𝑜 𝑟𝑒𝑝𝑒𝑎𝑡𝑒𝑑 𝑖𝑛𝑠𝑜𝑚𝑛𝑖𝑎. 𝐼 𝑤𝑎𝑠 𝑣𝑒𝑟𝑦 𝑎𝑓𝑓𝑒𝑐𝑡𝑒𝑑 𝑝𝑠𝑦𝑐ℎ𝑜𝑙𝑜𝑔𝑖𝑐𝑎𝑙𝑙𝑦, 𝑎𝑛𝑑 𝑤ℎ𝑖𝑙𝑒 𝑡ℎ𝑖𝑠 𝑤𝑎𝑠 𝑡𝑎𝑘𝑖𝑛𝑔 𝑖𝑡𝑠 𝑡𝑜𝑙𝑙 𝑜𝑛 𝑚𝑦 ℎ𝑒𝑎𝑙𝑡ℎ, 𝑚𝑦 𝑏𝑜𝑢𝑡𝑠 𝑜𝑓 𝑑𝑒𝑙𝑖𝑟𝑖𝑢𝑚 𝑤𝑒𝑟𝑒 𝑔𝑖𝑣𝑖𝑛𝑔 𝑏𝑖𝑟𝑡ℎ 𝑡𝑜 𝑚𝑒𝑙𝑜𝑑𝑖𝑒𝑠. 𝑇ℎ𝑎𝑡'𝑠 ℎ𝑜𝑤 𝐵𝑒𝑎𝑢𝑡𝑖𝑓𝑢𝑙 𝐽𝑎𝑚𝑒𝑠 𝑤𝑎𝑠 𝑏𝑜𝑟𝑛, 𝑜𝑛𝑒 𝑜𝑓 𝑚𝑦 𝑓𝑎𝑣𝑜𝑢𝑟𝑖𝑡𝑒𝑠 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚." This song is about the same theme that was mentioned in 𝑵𝒂𝒏𝒄𝒚 𝑩𝒐𝒚, that of homosexuality. But if at the time a reproachful look was cast on this fashion which consisted in claiming to be gay, from now on, it is just the story of a romance outside the heteronormative limits. A fragile ballad because it carries a certain melancholy, it is above all timeless because 𝑩𝒓𝒊𝒂𝒏's voice is particularly ageless. The passage of time has no effect on his voice, which is as nasal and deep as ever, but above all melodious and caressing.

Photo credit unknown, edit by Laetitia

🌊 This is not the only highlight of the album, however. 𝑯𝒂𝒑𝒑𝒚 𝑩𝒊𝒓𝒕𝒉𝒅𝒂𝒚 𝑰𝒏 𝑻𝒉𝒆 𝑺𝒌𝒚 is a beautiful celebration of the ghosts that accompany us. "𝐼𝑡'𝑠 𝑎 𝑙𝑖𝑛𝑒 𝐼 𝑢𝑠𝑒 𝑓𝑜𝑟 𝑝𝑒𝑜𝑝𝑙𝑒 𝑤ℎ𝑜 ℎ𝑎𝑣𝑒 𝑝𝑎𝑠𝑠𝑒𝑑 𝑎𝑤𝑎𝑦. 𝐼 𝑤𝑖𝑠ℎ 𝑡ℎ𝑒𝑚 𝑎 ℎ𝑎𝑝𝑝𝑦 𝑏𝑖𝑟𝑡ℎ𝑑𝑎𝑦 𝑖𝑛 ℎ𝑒𝑎𝑣𝑒𝑛. 𝑀𝑖𝑠𝑠𝑖𝑛𝑔 𝑎 𝑙𝑜𝑣𝑒𝑑 𝑜𝑛𝑒 𝑤ℎ𝑜 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑡𝑎𝑘𝑒𝑛 𝑓𝑟𝑜𝑚 𝑦𝑜𝑢 𝑖𝑠 𝑎 𝑑𝑒𝑒𝑝𝑙𝑦 𝑖𝑛𝑡𝑒𝑛𝑠𝑒 𝑓𝑒𝑒𝑙𝑖𝑛𝑔, 𝑎𝑛𝑑 𝐼 ℎ𝑎𝑣𝑒 𝑛𝑜 𝑑𝑜𝑢𝑏𝑡 𝑡ℎ𝑎𝑡 𝑖𝑡 𝑖𝑠 𝑠ℎ𝑎𝑟𝑒𝑑. 𝐴𝑛𝑑 𝑖𝑓 𝑤𝑒 ℎ𝑎𝑣𝑒 𝑚𝑎𝑛𝑎𝑔𝑒𝑑 𝑡𝑜 𝑐𝑜𝑛𝑣𝑒𝑦 𝑠𝑜𝑚𝑒 𝑜𝑓 𝑡ℎ𝑎𝑡 𝑠𝑒𝑛𝑠𝑒 𝑜𝑓 𝑡𝑟𝑎𝑔𝑒𝑑𝑦, 𝑠𝑜 𝑚𝑢𝑐ℎ 𝑡ℎ𝑒 𝑏𝑒𝑡𝑡𝑒𝑟, 𝑖𝑡 𝑚𝑒𝑎𝑛𝑠 𝑤𝑒 𝑎𝑟𝑒 𝑎𝑙𝑖𝑣𝑒. 𝑇ℎ𝑖𝑠 𝑤𝑎𝑠 𝑛𝑜𝑡 𝑜𝑏𝑣𝑖𝑜𝑢𝑠 𝑤ℎ𝑒𝑛 𝑤𝑒 𝑤𝑒𝑟𝑒 𝑤𝑜𝑟𝑘𝑖𝑛𝑔 𝑜𝑛 𝑜𝑢𝑟 𝑟𝑒𝑐𝑜𝑟𝑑, 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 𝐼 𝑟𝑒𝑚𝑖𝑛𝑑 𝑦𝑜𝑢 𝑡ℎ𝑎𝑡 𝑜𝑛 𝑡ℎ𝑒 𝑐𝑜𝑣𝑒𝑟 𝑡ℎ𝑒 𝑚𝑎𝑛 ℎ𝑎𝑠 𝑐𝑜𝑚𝑝𝑙𝑒𝑡𝑒𝑙𝑦 𝑑𝑖𝑠𝑎𝑝𝑝𝑒𝑎𝑟𝑒𝑑, 𝑡ℎ𝑒𝑟𝑒 𝑖𝑠 𝑜𝑛𝑙𝑦 𝑎 𝑙𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒. 𝑁𝑎𝑡𝑢𝑟𝑒 ℎ𝑎𝑠 𝑡𝑎𝑘𝑒𝑛 𝑜𝑣𝑒𝑟 𝑎𝑛𝑑 𝑒𝑙𝑖𝑚𝑖𝑛𝑎𝑡𝑒𝑑 𝑖𝑡𝑠 𝑚𝑎𝑖𝑛 𝑒𝑛𝑒𝑚𝑦.”
✔️ 𝙲𝚑𝚛𝚒𝚜𝚝𝚒𝚊𝚗 𝙴𝚞𝚍𝚎𝚕𝚒𝚗𝚎 𝚏𝚘𝚛 𝚅𝚒𝚗𝚢𝚕𝚎 𝚎𝚝 𝙰𝚞𝚍𝚒𝚘 𝚗°𝟷𝟸 - 𝙼𝚊𝚢/𝙹𝚞𝚗𝚎 𝟸0𝟸𝟸

🌸 𝘐 𝘢𝘮 𝘪𝘯 𝘵𝘩𝘦 𝘮𝘰𝘰𝘥 𝘵𝘰 𝘭𝘪𝘴𝘵𝘦𝘯 𝘵𝘰 𝘏𝘢𝘱𝘱𝘺 𝘉𝘪𝘳𝘵𝘩𝘥𝘢𝘺 𝘐𝘯 𝘛𝘩𝘦 𝘚𝘬𝘺 🌸
🎵 https://bit.ly/3sn7alT 🎵

Translation by Laetitia
Post by Laetitia

⭐🌟 𝘾𝙊𝘿𝙔 𝙈𝙊𝙇𝙆𝙊 🌟⭐

"𝗞𝗲𝗲𝗽 𝗮𝗻 𝗲𝘆𝗲 𝗼𝗻 𝘁𝗵𝗲 𝗻𝗲𝘄 𝗠𝗼𝗹𝗸𝗼. 𝗛𝗲'𝘀 𝗴𝗼𝗶𝗻𝗴 𝘁𝗼 𝗯𝗲 𝗯𝗶𝗴𝗴𝗲𝗿 𝘁𝗵𝗮𝗻 𝘁𝗵𝗲 𝗳𝗶𝗿𝘀𝘁 𝗼𝗻𝗲."
𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘

Photo credits down below

⭐ The first time 𝑪𝒐𝒅𝒚 𝑴𝒐𝒍𝒌𝒐 appeared in the 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 world was with this iconic 𝑩3 𝑬𝑷 cover in 2012. 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 had actually launched a photography contest, the #𝐵3𝐾𝐼𝑆𝑆 𝑐𝑜𝑚𝑝𝑒𝑡𝑖𝑡𝑖𝑜𝑛 asking participants to recreate their own artwork of the cover. The winner received "𝘢 𝘧𝘳𝘢𝘮𝘦𝘥 𝘵𝘦𝘴𝘵 𝘱𝘳𝘪𝘯𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘉3𝘌𝘗 𝘢𝘳𝘵𝘸𝘰𝘳𝘬, 𝘴𝘪𝘨𝘯𝘦𝘥 𝘣𝘺 𝘗𝘓𝘈𝘊𝘌𝘉𝘖" (𝙿𝚕𝚊𝚌𝚎𝚋𝚘𝚠𝚘𝚛𝚕𝚍)
But I'm getting off topic... 😊

⭐ 𝑪𝒐𝒅𝒚 𝑴𝒐𝒍𝒌𝒐 , son of 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 and photographer 𝑯𝒆𝒍𝒆𝒏𝒂 𝑩𝒆𝒓𝒈 , has everything it takes to become an accomplished artist. The 16-year-old is already a musician, singer, photographer and above all an actor.


📷 𝐂𝐎𝐃𝐘 𝐚𝐧𝐝 𝐏𝐇𝐎𝐓𝐎𝐆𝐑𝐀𝐏𝐇𝐘 📷

⭐ He tried his hand at photography, inspired and supported no doubt by his mother, 𝑯𝒆𝒍𝒆𝒏𝒂, who herself had already collaborated with 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 on the covers of the 𝑺𝒍𝒆𝒆𝒑𝒊𝒏𝒈 𝑾𝒊𝒕𝒉 𝑮𝒉𝒐𝒔𝒕𝒔 singles, as well as the covers of the 𝑩3 𝑬𝑷.

⭐ His photographs are interesting in that he plays with light and colour. His portraits communicate a joie de vivre or immortalize a hanging life. Ordinary objects become the center of attention when they would otherwise go unnoticed.
𝙏𝙝𝙚 𝙜𝙖𝙡𝙡𝙚𝙧𝙮 𝙤𝙛 𝘾𝙤𝙙𝙮 📻 https://bit.ly/3v3Q6TK

Phozo credits: Cody Molko / edit by Laetitia

🎶 𝐂𝐎𝐃𝐘 𝐚𝐧𝐝 𝐌𝐔𝐒𝐈𝐂 🎶

⭐ 𝑪𝒐𝒅𝒚 stars in the song video 𝑲𝒊𝒔𝒔𝒊𝒏𝒈 𝒇𝒐𝒐𝒍𝒔 by 𝐾𝑒𝑟𝑟𝑖 𝑊𝑎𝑡𝑡 in 2020, taking on the role of a teenager wanting to experience his first kiss, while showing the stress generated by this particular and unique moment, which often remains engraved for life in the memory. (Brings back some memories, doesn't it ?)
𝙆𝙞𝙨𝙨𝙞𝙣𝙜 𝙁𝙤𝙤𝙡𝙨 𝙗𝙮 𝙆𝙚𝙧𝙧𝙞 𝙒𝙖𝙩𝙩
🎵 https://bit.ly/3rIM9BI
🔷 𝐷𝑜 𝑦𝑜𝑢 𝑟𝑒𝑚𝑒𝑚𝑏𝑒𝑟 𝑦𝑜𝑢𝑟 𝑓𝑖𝑟𝑠𝑡 𝑘𝑖𝑠𝑠 ? 𝐼 𝑑𝑜 ! 😄

⭐ Collaborating with 𝐵𝑜𝑟𝑖𝑠 𝐵𝑒𝑛𝑡ℎ𝑎𝑚-𝐹𝑙𝑒𝑡𝑐ℎ𝑒𝑟, aka 𝑺𝑳𝑯1, 𝑪𝒐𝒅𝒚 𝑴𝒐𝒍𝒌𝒐 wrote the lyrics of 𝑼𝑵𝑫𝑬𝑹𝑻𝑯𝑬𝑺𝑻𝑨𝑹𝑺, a hip-hop pop tune, released on Aprile 2021.
𝙐𝙉𝘿𝙀𝙍𝙏𝙃𝙀𝙎𝙏𝘼𝙍𝙎 (𝙛𝙚𝙖𝙩. 𝘾𝙤𝙙𝙮 𝙈𝙤𝙡𝙠𝙤)
🎵 https://bit.ly/3v4mQw2

⭐ And finally, he participated in the backing vocals of 𝑷𝒍𝒂𝒄𝒆𝒃𝒐's 𝑻𝒓𝒚 𝑩𝒆𝒕𝒕𝒆𝒓 𝑵𝒆𝒙𝒕 𝑻𝒊𝒎𝒆, thus making his official entry into the music of our beloved band !
𝙏𝙧𝙮 𝘽𝙚𝙩𝙩𝙚𝙧 𝙉𝙚𝙭𝙩 𝙏𝙞𝙢𝙚
🎥 https://bit.ly/3EG5Q2r 🎵

Photo credit unknown 

🎬 𝐂𝐎𝐃𝐘 𝐚𝐧𝐝 𝐂𝐎𝐌𝐄𝐃𝐘 🎬

⭐ 𝑪𝒐𝒅𝒚's first steps on the stage (from my research of course, I can't rule out the possibility that I'm wrong) came in 2018 at the 𝘊𝘩𝘪𝘤𝘩𝘦𝘴𝘵𝘦𝘳 𝘍𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘛𝘩𝘦𝘢𝘵𝘳𝘦's performances of 𝑻𝒉𝒆 𝑴𝒊𝒅𝒏𝒊𝒈𝒉𝒕 𝑮𝒂𝒏𝒈, an adaptation by 𝐵𝑟𝑦𝑜𝑛𝑦 𝐿𝑎𝑣𝑒𝑟, based on 𝐷𝑎𝑣𝑖𝑑 𝑊𝑎𝑙𝑙𝑖𝑎𝑚's children book. 𝑪𝒐𝒅𝒚 plays 12 year old Tom, a child who ends up in hospital with a hand injury. There he meets George, Amber, Robin and Sally. It's a story about friendship, helping each other, magic and dreams coming true.
𝙏𝙝𝙚 𝙈𝙞𝙙𝙣𝙞𝙜𝙝𝙩 𝙂𝙖𝙣𝙜 𝘾𝙝𝙞𝙘𝙝𝙚𝙨𝙩𝙚𝙧 𝙁𝙚𝙨𝙩𝙞𝙫𝙖𝙡 𝙏𝙝𝙚𝙖𝙩𝙧𝙚 (𝙩𝙧𝙖𝙞𝙡𝙚𝙧)
🎬 https://bit.ly/3EFxP2w

⭐ His most notable role is as Daniel in 𝑻𝒉𝒆 𝑫𝒓𝒐𝒘𝒏𝒊𝒏𝒈, a four-part suspense drama airing in February 2021 on Channel 5.
𝙋𝙡𝙤𝙩: 𝘞𝘩𝘦𝘯 𝘑𝘰𝘥𝘪𝘦 𝘞𝘢𝘭𝘴𝘩'𝘴 𝘧𝘰𝘶𝘳-𝘺𝘦𝘢𝘳-𝘰𝘭𝘥 𝘴𝘰𝘯 𝘛𝘰𝘮 𝘥𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘴 𝘧𝘳𝘰𝘮 𝘢 𝘭𝘢𝘬𝘦𝘴𝘪𝘥𝘦 𝘱𝘪𝘤𝘯𝘪𝘤, 𝘩𝘦 𝘪𝘴 𝘱𝘳𝘦𝘴𝘶𝘮𝘦𝘥 𝘥𝘳𝘰𝘸𝘯𝘦𝘥. 𝘏𝘪𝘴 𝘣𝘰𝘥𝘺 𝘸𝘢𝘴 𝘯𝘦𝘷𝘦𝘳 𝘧𝘰𝘶𝘯𝘥. 𝘏𝘰𝘸𝘦𝘷𝘦𝘳, 9 𝘺𝘦𝘢𝘳𝘴 𝘭𝘢𝘵𝘦𝘳, 𝘸𝘩𝘦𝘯 𝘑𝘰𝘥𝘪𝘦 𝘴𝘦𝘦𝘴 𝘢 𝘵𝘦𝘦𝘯𝘢𝘨𝘦𝘳, 𝘋𝘢𝘯𝘪𝘦𝘭, 𝘰𝘯 𝘩𝘪𝘴 𝘸𝘢𝘺 𝘵𝘰 𝘴𝘤𝘩𝘰𝘰𝘭, 𝘴𝘩𝘦 𝘪𝘴 𝘤𝘰𝘯𝘷𝘪𝘯𝘤𝘦𝘥 𝘪𝘵 𝘪𝘴 𝘩𝘪𝘮! 𝘛𝘩𝘦 𝘭𝘪𝘧𝘦 𝘴𝘩𝘦 𝘩𝘢𝘴 𝘱𝘢𝘪𝘯𝘴𝘵𝘢𝘬𝘪𝘯𝘨𝘭𝘺 𝘳𝘦𝘣𝘶𝘪𝘭𝘵 𝘧𝘰𝘳 𝘴𝘰 𝘮𝘢𝘯𝘺 𝘺𝘦𝘢𝘳𝘴 𝘪𝘴 𝘴𝘩𝘢𝘵𝘵𝘦𝘳𝘦𝘥, 𝘣𝘶𝘵 𝘴𝘩𝘦 𝘸𝘪𝘭𝘭 𝘥𝘰 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨 𝘵𝘰 𝘱𝘳𝘰𝘷𝘦 𝘴𝘩𝘦 𝘪𝘴 𝘳𝘪𝘨𝘩𝘵. 𝘞𝘪𝘭𝘭 𝘴𝘩𝘦 𝘤𝘰𝘯𝘷𝘪𝘯𝘤𝘦 𝘵𝘩𝘦 𝘱𝘰𝘭𝘪𝘤𝘦 𝘢𝘯𝘥 𝘩𝘦𝘳 𝘰𝘸𝘯 𝘧𝘢𝘮𝘪𝘭𝘺 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘮𝘢𝘯 𝘤𝘶𝘳𝘳𝘦𝘯𝘵𝘭𝘺 𝘭𝘰𝘰𝘬𝘪𝘯𝘨 𝘢𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘣𝘰𝘺 𝘪𝘴 𝘯𝘰𝘵 𝘩𝘪𝘴 𝘧𝘢𝘵𝘩𝘦𝘳 𝘣𝘶𝘵 𝘩𝘪𝘴 𝘢𝘣𝘥𝘶𝘤𝘵𝘰𝘳?

𝙏𝙝𝙚 𝘿𝙧𝙤𝙬𝙣𝙞𝙣𝙜 (𝙩𝙧𝙖𝙞𝙡𝙚𝙧)
🎬 https://bit.ly/3MFAL1V

Photo credits: Poster and screenshots / edit by Laetitia

⭐ In 𝑺𝒉𝒂𝒅𝒐𝒘 𝑨𝒏𝒅 𝑩𝒐𝒏𝒆, an American fantasy series by 𝑬𝒓𝒊𝒄 𝑯𝒆𝒊𝒔𝒔𝒆𝒓𝒆𝒓 for Netflix, 𝑪𝒐𝒅𝒚 plays Young Mal in 4 out of 8 episodes. It is an adaptation of the Grisha unviverse novels by Leigh Bardugo.
𝙋𝙡𝙤𝙩: 𝘛𝘩𝘦 𝘬𝘪𝘯𝘨𝘥𝘰𝘮 𝘰𝘧 𝘙𝘢𝘷𝘬𝘢 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 𝘤𝘶𝘳𝘴𝘦𝘥 𝘧𝘰𝘳 𝘮𝘪𝘭𝘭𝘦𝘯𝘯𝘪𝘢. 𝘐𝘵𝘴 𝘧𝘢𝘵𝘦 𝘯𝘰𝘸 𝘳𝘦𝘴𝘵𝘴 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘩𝘰𝘶𝘭𝘥𝘦𝘳𝘴 𝘰𝘧 𝘢𝘯 𝘰𝘳𝘱𝘩𝘢𝘯 𝘨𝘪𝘳𝘭. 𝘈𝘭𝘪𝘯𝘢 𝘩𝘢𝘴 𝘣𝘦𝘦𝘯 𝘳𝘦𝘤𝘳𝘶𝘪𝘵𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘈𝘳𝘮𝘺 𝘵𝘰 𝘢𝘤𝘤𝘰𝘮𝘱𝘢𝘯𝘺 𝘵𝘩𝘦 𝘎𝘳𝘪𝘴𝘩𝘢, 𝘱𝘰𝘸𝘦𝘳𝘧𝘶𝘭 𝘮𝘢𝘨𝘪𝘤𝘪𝘢𝘯𝘴 𝘸𝘩𝘰 𝘢𝘳𝘦 𝘧𝘪𝘨𝘩𝘵𝘪𝘯𝘨 𝘵𝘩𝘦 𝘦𝘷𝘪𝘭 𝘧𝘰𝘨 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘵𝘦𝘢𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘭𝘢𝘯𝘥 𝘢𝘱𝘢𝘳𝘵. 𝘞𝘩𝘦𝘯 𝘩𝘦𝘳 𝘤𝘩𝘪𝘭𝘥𝘩𝘰𝘰𝘥 𝘧𝘳𝘪𝘦𝘯𝘥 𝘪𝘴 𝘯𝘦𝘢𝘳𝘭𝘺 𝘬𝘪𝘭𝘭𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘳𝘢𝘪𝘥, 𝘈𝘭𝘪𝘯𝘢 𝘮𝘶𝘴𝘵 𝘧𝘢𝘤𝘦 𝘩𝘦𝘳 𝘧𝘦𝘢𝘳𝘴 𝘢𝘯𝘥 𝘩𝘦𝘳 𝘥𝘦𝘴𝘵𝘪𝘯𝘺... 𝘛𝘩𝘦 𝘸𝘰𝘳𝘭𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘎𝘳𝘪𝘴𝘩𝘢 𝘪𝘴 𝘥𝘢𝘯𝘨𝘦𝘳𝘰𝘶𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘵𝘳𝘢𝘱𝘴 𝘢𝘳𝘦 𝘮𝘢𝘯𝘺. 𝘞𝘩𝘰 𝘤𝘢𝘯 𝘈𝘭𝘪𝘯𝘢 𝘵𝘳𝘶𝘴𝘵, 𝘸𝘩𝘦𝘯 𝘵𝘩𝘦 𝘰𝘯𝘭𝘺 𝘱𝘦𝘳𝘴𝘰𝘯 𝘴𝘩𝘦 𝘤𝘰𝘶𝘭𝘥 𝘤𝘰𝘶𝘯𝘵 𝘰𝘯 𝘪𝘴 𝘯𝘰 𝘭𝘰𝘯𝘨𝘦𝘳 𝘢𝘣𝘭𝘦 𝘵𝘰 𝘩𝘦𝘭𝘱 𝘩𝘦𝘳 ?
𝑺𝒉𝒂𝒅𝒐𝒘 𝑨𝒏𝒅 𝑩𝒐𝒏𝒆 (𝒕𝒓𝒂𝒊𝒍𝒆𝒓)
🎬 https://bit.ly/3L6fpKE

Screenshots / edit by Laetitia

♦️ 𝐂𝐎𝐃𝐘 𝐚𝐧𝐝 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 ♦️

⭐ In the 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 universe, as mentioned above, he appears on the artwork of the 2012 𝑩3 𝑬𝑷, kissing a fogged window.

⭐ In 2013, for Record Store Day, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 released a transparent vinyl of 𝑩3 𝑬𝑷,with 𝑪𝒐𝒅𝒚on the cover. A very nice blurred image of the child, behind a rain-beaded window, stretching his hand outwards. The mouth contrasts with the rest of the picture.
Both photographs are by 𝑯𝒆𝒍𝒆𝒏𝒂 𝑩𝒆𝒓𝒈.

Photo credits: Helena Berg / edit by Laetitia

⭐ In 2016, it was on the cover of 𝑱𝒆𝒔𝒖𝒔' 𝑺𝒐𝒏 that he appeared with, apparently, a dust mask over his face and a second photo with a life jacket.
Both pictures are by 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐.

⭐ 𝑪𝒐𝒅𝒚 recently stood out by posing to showcase the group's new merchandise, 𝑵𝒂𝒏𝒄𝒚 𝑩𝒐𝒚, 𝑺𝒕𝒖𝒏𝒕 𝑮𝒊𝒓𝒍 or 𝑯𝒂𝒊𝒍 𝑺𝒂𝒕𝒂𝒏 t-shirts for 𝑵𝒆𝒗𝒆𝒓's 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐 promo campaign.

Photo credits: Placeboworld / edit by Laetitia

♦️ 𝐁𝐑𝐈𝐀𝐍 𝐀𝐁𝐎𝐔𝐓 𝐂𝐎𝐃𝐘 ♦️

◾ 𝑫𝒐 𝒚𝒐𝒖 𝒑𝒍𝒂𝒚 𝒚𝒐𝒖𝒓 𝒏𝒆𝒘 𝒔𝒐𝒏𝒈𝒔 𝒕𝒐 𝒚𝒐𝒖𝒓 𝒔𝒐𝒏 𝑪𝒐𝒅𝒚 ?
💬 Yeah, an eight year old boy is a good listener. Playing my songs to him is a good test. When he finds an idea catchy enough, you know, you should go on with it.
◾ 𝑨𝒏𝒅 𝒊𝒏 𝒕𝒉𝒂𝒕 𝒘𝒂𝒚 𝒚𝒐𝒖 𝒌𝒏𝒐𝒘 𝒕𝒉𝒂𝒕 𝒔𝒐𝒏𝒈 𝒘𝒊𝒍𝒍 𝒃𝒆 𝒂 𝒓𝒂𝒅𝒊𝒐 𝒉𝒊𝒕 !
💬 Yes. Recently I played for him one of the bonus tracks from the new albumit’s called Pity Party (Of One). He was onlysitting there, crossed arms without a wince and said: “Nooo, I don’t like it, no. Sorry !”
◾ 𝑾𝒉𝒂𝒕 𝒅𝒐𝒆𝒔 𝒉𝒆 𝒍𝒊𝒌𝒆 ?
💬 He likes Loud Like Love, Too Many Friends and the last song of the album. He likes strings.
◾ 𝑫𝒐𝒆𝒔 𝒉𝒆 𝒘𝒐𝒓𝒓𝒚, 𝒘𝒉𝒆𝒏 𝒉𝒆 𝒍𝒊𝒔𝒕𝒆𝒏𝒔 𝒕𝒐 𝒉𝒊𝒔 𝒅𝒂𝒅𝒅𝒚’𝒔 𝒑𝒆𝒔𝒔𝒊𝒎𝒊𝒔𝒕𝒊𝒄 𝒍𝒚𝒓𝒊𝒄𝒔 𝒂𝒃𝒐𝒖𝒕 𝒍𝒐𝒏𝒆𝒍𝒊𝒏𝒆𝒔𝒔, 𝒇𝒓𝒖𝒔𝒕𝒓𝒂𝒕𝒊𝒐𝒏 ?
💬 No , he’s still too young to understand that, it doesn’t affect him He only pays attention to the melodies, if they are catchy.
◾ 𝑾𝒉𝒂𝒕 𝒅𝒐𝒆𝒔 𝒉𝒆 𝒍𝒊𝒔𝒕𝒆𝒏 𝒕𝒐 𝒂𝒑𝒂𝒓𝒕 𝒇𝒓𝒐𝒎 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ?
💬 One Direction, obviously but also distorted guitars and heavy rock music.
◾ 𝑺𝒐, 𝒉𝒆 𝒍𝒊𝒌𝒆𝒔 𝒚𝒐𝒖𝒓 𝒐𝒍𝒅𝒆𝒓 𝒂𝒍𝒃𝒖𝒎𝒔 𝒕𝒐𝒐 ?
💬 Maybe, but I don’t want to play them because I would have to listen to them again. On YouTube sometimes he finds our older stuff. This leads to the question of: “ I saw a video Dad, in which you wear a lot of make-up. And a dress ! Why did you wear that ?” Me: “Ehm, … just because. At that times I just felt like it maybe one day you will wear something like this too !”
◾ 𝑩𝒖𝒕 𝒕𝒉𝒊𝒔 𝒅𝒂𝒚 𝒔𝒕𝒊𝒍𝒍 𝒉𝒂𝒔𝒏’𝒕 𝒄𝒐𝒎𝒆 ?
💬 Ehm.. I don’t know, you should have to ask him yourself.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙼𝚞𝚜𝚒𝚔𝚎𝚡𝚙𝚛𝚎𝚜𝚜 (𝟸0𝟷𝟺)
✒️ 𝘛𝘳𝘢𝘯𝘴𝘭𝘢𝘵𝘦𝘥 𝘪𝘯𝘵𝘰 𝘌𝘯𝘨𝘭𝘪𝘴𝘩 𝘣𝘺 𝘚𝘶𝘴𝘢𝘯𝘯𝘦𝘊𝘬 𝘢𝘯𝘥 𝘋𝘪𝘢𝘯𝘢 𝘌.𝘛. 𝘍𝘰𝘨𝘩𝘪𝘯

Photo credit: Onstage

🔷 𝐼'𝑑 𝑙𝑖𝑘𝑒 𝑡𝑜 𝑘𝑛𝑜𝑤 𝑤ℎ𝑎𝑡'𝑠 𝐶𝑜𝑑𝑦'𝑠 𝑝𝑜𝑖𝑛𝑡 𝑜𝑓 𝑣𝑖𝑒𝑤 𝑎𝑏𝑜𝑢𝑡 𝑃𝑖𝑡𝑦 𝑃𝑎𝑟𝑡𝑦 (𝑂𝑓 𝑂𝑛𝑒) 𝑡𝑜𝑑𝑎𝑦 ! :𝑃
𝑷𝒊𝒕𝒚 𝑷𝒂𝒓𝒕𝒚 (𝑶𝒇 𝑶𝒏𝒆)
🎥 https://bit.ly/3MtB7bP 🎵


💬 "I have responsibilities. I have to continue the education of my son. He lives between me and his mother. At 16, he is already a professional actor. In a series on Netflix for example (Shadow and Bone). And he's a better musician than I am. Keep an eye on the new Molko. He's going to be bigger than the first one."
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙻𝚎 𝙿𝚊𝚛𝚒𝚜𝚒𝚎𝚗 - 𝟸𝟻 𝙼𝚊𝚛𝚌𝚑 𝟸0𝟸𝟸


🔷 𝑆𝑜 𝐼'𝑙𝑙 𝑒𝑛𝑑 𝑤𝑖𝑡ℎ 𝑡ℎ𝑖𝑠 𝑏𝑒𝑛𝑒𝑣𝑜𝑙𝑒𝑛𝑡 𝑠𝑒𝑛𝑡𝑒𝑛𝑐𝑒 𝑓𝑟𝑜𝑚 𝐵𝑟𝑖𝑎𝑛. 𝐿𝑒𝑡'𝑠 𝑘𝑒𝑒𝑝 𝑎𝑛 𝑒𝑦𝑒 𝑜𝑛 ℎ𝑖𝑚, 𝑎𝑛𝑑 𝑤𝑖𝑠ℎ ℎ𝑖𝑚 𝑎𝑙𝑙 𝑡ℎ𝑒 𝑏𝑒𝑠𝑡, 𝑤𝑖𝑡ℎ 𝑒𝑣𝑒𝑟𝑦 𝑠𝑢𝑐𝑐𝑒𝑠𝑠 𝑖𝑛 ℎ𝑖𝑠 𝑝𝑟𝑜𝑓𝑒𝑠𝑠𝑖𝑜𝑛𝑎𝑙 𝑐𝑎𝑟𝑒𝑒𝑟 ! 🎸👏🔥✨🎵

Credits pic 1: Cody Molko Instagram (main picture), Covers of B3 EP, Placeboworld. Shadow and Bone screenshots, Cover of UNDERTHESTARS / Edit by Laetitia

Post by Laetitia

🔥✨𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝐈𝐍 𝐓𝐇𝐄 𝐊𝐄𝐑𝐑𝐀𝐍𝐆! 𝐂𝐎𝐕𝐄𝐑 𝐒𝐓𝐎𝐑𝐘✨🔥

Kerrang! magazine IG: "Placebo hit the 𝑲𝒆𝒓𝒓𝒂𝒏𝒈! cover this week to talk creativity, being in the public eye, climate change, new album Never Let Me Go and much more…"

𝐏𝐥𝐚𝐜𝐞𝐛𝐨: "𝐌𝐀𝐊𝐈𝐍𝐆 𝐌𝐔𝐒𝐈𝐂 𝐅𝐄𝐋𝐓 𝐋𝐈𝐊𝐄 𝐀 𝐋𝐈𝐅𝐄𝐋𝐈𝐍𝐄, 𝐀𝐍𝐃 𝐓𝐇𝐀𝐓 𝐅𝐄𝐄𝐋𝐈𝐍𝐆 𝐒𝐓𝐈𝐋𝐋 𝐄𝐗𝐈𝐒𝐓𝐒 𝐓𝐎 𝐓𝐇𝐈𝐒 𝐃𝐀𝐘"

𝑭𝒐𝒓 𝒂𝒍𝒎𝒐𝒔𝒕 𝒕𝒉𝒓𝒆𝒆 𝒅𝒆𝒄𝒂𝒅𝒆𝒔, 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 𝒂𝒏𝒅 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒎𝒂𝒔𝒕𝒆𝒓𝒔 𝒐𝒇 𝒕𝒉𝒆𝒊𝒓 𝒐𝒘𝒏 𝒅𝒆𝒔𝒕𝒊𝒏𝒚, 𝒔𝒕𝒆𝒆𝒓𝒊𝒏𝒈 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒊𝒏𝒕𝒐 𝒘𝒉𝒊𝒄𝒉𝒆𝒗𝒆𝒓 𝒄𝒓𝒆𝒂𝒕𝒊𝒗𝒆 𝒘𝒂𝒕𝒆𝒓𝒔 𝒕𝒉𝒆𝒚 𝒔𝒐 𝒄𝒉𝒐𝒐𝒔𝒆. 𝑵𝒐𝒘, 𝒂𝒇𝒕𝒆𝒓 𝒏𝒊𝒏𝒆 𝒚𝒆𝒂𝒓𝒔 𝒍𝒐𝒔𝒕 𝒂𝒕 𝒔𝒆𝒂, 𝒕𝒉𝒆 𝒅𝒖𝒐 𝒉𝒂𝒗𝒆 𝒓𝒆𝒕𝒖𝒓𝒏𝒆𝒅 𝒘𝒊𝒕𝒉 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐, 𝒂𝒏𝒅 𝒑𝒓𝒆𝒔𝒄𝒊𝒆𝒏𝒕 𝒕𝒂𝒍𝒆𝒔 𝒐𝒇 𝒍𝒐𝒔𝒔, 𝒔𝒖𝒓𝒗𝒆𝒊𝒍𝒍𝒂𝒏𝒄𝒆 𝒂𝒏𝒅 𝒄𝒍𝒊𝒎𝒂𝒕𝒆 𝒄𝒉𝒂𝒏𝒈𝒆. 𝑨 𝒓𝒆𝒄𝒐𝒓𝒅 𝒇𝒐𝒓 𝒐𝒖𝒓 𝒕𝒊𝒎𝒆𝒔, 𝒕𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒐𝒏𝒍𝒚 𝒉𝒂𝒗𝒆 𝒃𝒆𝒆𝒏 𝒎𝒂𝒅𝒆 𝒃𝒚 𝒕𝒉𝒆𝒔𝒆 𝒕𝒘𝒐…

Photo credit: Mads Perch / Kerrang! cover

What’s my state of mind right now?” Brian Molko ponders, repeating Kerrang!’s question slowly, deliberately and with that unmistakable purr. “Anticipation. Mild frustration. Impatience. This has been a long time coming.” The ‘this’ the 49-year-old is referring to is Never Let Me Go, Placebo’s forthcoming eighth album and their first since 2013. “We’ve been sitting on this record for two years longer than we probably should have been. We have to get back into this rock’n’roll machine.” [...]
Questioning their own methods is how Placebo ended up making Never Let Me Go. As with all of their albums, starting things off brings on “a major existential crisis” in Brian, who’ll use an exercise in creativity to aid him out of his bind. This time it involved reversing the process of making a record entirely, starting with the cover art, for which he selected a striking image of a beach. At first glance, it appears to be covered by beautiful multicoloured pebbles. On closer inspection, however, it becomes clear the beach is strewn with man-made items altered by time and tide, but unable to break down entirely.

This image is the perfect accompaniment for Try Better Next Time, a song that manages the feat of being both breezy and devastatingly depressing. “It’s basically saying, ‘Good riddance humanity, try better next time you come back and get a chance to live on this beautiful planet,” explains Brian. “It’s a very disillusioned song about the climate disaster presented in a sort of three-minute Weezer-ish kind of pop-punk thing. If you dig deeper, it’s one of the more disturbing songs because it’s talking about an extinction event, you know, the extinction of human beings.”

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.
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.”
[...]

Photo credit: Mads Perch 

Stefan still looks back, of course, but his focus is on the less obvious career accomplishments, with a curious focus on his band’s promos. His son remains mighty impressed that dad got to swim with sharks in the video for 1998’s You Don’t Care About Us, even if that bravery was an illusion created through technology and clever editing (“I don’t know if I want to tell him the truth just yet”). And Stefan laughs at the memory of the video for Nancy Boy with its generous sprays of white fluid that somehow went over the heads of the censors, so to speak. “There’s some overtly sexual imagery. The massive cumshot, for example.”

Talk of achievements, eventually leads us to the topic of David Bowie, who played a pivotal mentorly role in Placebo’s career – taking them on tour, guesting on the single version of the track Without You I’m Nothing, and appearing with them during live shows. Stefan recently found a photograph from the legend’s 50th birthday concert back in 1997. Taken backstage at New York’s Madison Square Garden, it features Placebo alongside members of The Cure, Foo Fighters, Smashing Pumpkins and Sonic Youth, arranged around the birthday boy who’s sat on the edge of a sofa, bleached blonde hair like a cockatoo’s crest, a cigarette between his fingers and a grin across his face. “We were trying not to wee ourselves with excitement,” Stefan admits now.

David Bowie’s death on January 10, 2016, two days after his 69th birthday and the release of final studio album Blackstar, certainly left its mark on the members of Placebo. The aching Happy Birthday In The Sky, while not exclusively about that particular loss, pays tribute to those whose birthdays we continue to mark even after they have passed, as Brian does with his late hero. “It communicates that kind of heartbreak,” he explains. “That sense of loss. That sense of desperation. It’s as if a part of your body and soul has been ripped from you unfairly. And you pine – and you pine.”
[...]

hPhoto credit: Mads Perch 

David Bowie was a notoriously prescient thinker, whether it was predicting success for Placebo, Stefan’s untapped vocal abilities, or his remarkable foresight about the societal fragmentation brought about by the internet, as explained during an interview with Jeremy Paxman in 1999. But with that inquisitive, envelope-pushing brain no longer with us, it’s up to the likes of Placebo to continue making records that ask important questions while not standing still. With Never Let Me Go exploring themes of climate change, surveillance and privacy, being released into a world growing hotter, in which more than three million people have fled the war in Ukraine and the UK has provided visas to less than 7,000 of them, it’s natural to wonder: are the two members of Placebo at all hopeful for the future?
Unsurprisingly for a self-confessed “catastrophiser”, Brian doesn’t have a good feeling. “Forgive me for saying so, because I don't want to depress a bunch of people, but I'm not particularly optimistic. I suffer from depression, so it's very difficult to have a tendency towards depression and to not have climate depression, for example, or not be completely aghast at the treatment of refugees in this country. Or not be completely aghast at the lies and manipulation we're being subjected to by the powers that be in this country. And it's very difficult, I think, to take a cold, hard look at what's going on and empathise with it and find optimism.”
Perhaps, adds Brian, none of us are in a position to see clearly at this point, given that we’re firmly in the eye of multiple storms. “There's no historical distance – we're living it – maybe it feels more intense because we're living it right now.”

Stefan agrees, suggesting that our current set of circumstances, climate change notwithstanding, are nothing new, as tough as it can feel to be in the throes of them. “People have lived through pestilence and bigger wars. And somehow, in despair, humans have clung onto something to move forward, even when there is very little light. It seems the only reason we’re here is to survive and procreate, and that’s essentially all that we do. But then again we’re burdened with this consciousness that means we’re always asking, ‘Why?’”

Grappling for the answers to life’s big questions is one of the most important reasons we need music. It gives us the power to understand what it means to be human, and by encouraging us to listen to a variety of different kinds of expressions, we become more open to understanding the thoughts and feelings of others. It’s a gift Placebo have provided us with for almost three decades. Without that expression, we’re nothing. And as it turns out, without people to share their expression with, Placebo would be nothing too. It’s a mutually beneficial relationship, then, so it’s vital we continue holding on to each other.
(𝐾𝑒𝑟𝑟𝑎𝑛𝑔! 𝑚𝑎𝑔𝑎𝑧𝑖𝑛𝑒, 𝑀𝑎𝑟𝑐ℎ 23𝑟𝑑, 2022)

Read the full interview here:
https://bit.ly/3ty6RG3

Post by Olga

✨🌼 𝐍𝐄𝐖 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐁𝐑𝐈𝐀𝐍 (MYROCK MARCH 2022)🌼✨

"𝑰𝒇 𝒕𝒉𝒊𝒔 𝒕𝒐𝒖𝒓 𝒉𝒂𝒔 𝒕𝒂𝒖𝒈𝒉𝒕 𝒖𝒔 𝒂𝒏𝒚𝒕𝒉𝒊𝒏𝒈, 𝒊𝒕'𝒔 𝒕𝒉𝒂𝒕 𝒕𝒉𝒆𝒓𝒆 𝒊𝒔 𝒗𝒂𝒍𝒖𝒆 𝒊𝒏 𝒈𝒊𝒗𝒊𝒏𝒈 𝒑𝒍𝒆𝒂𝒔𝒖𝒓𝒆 𝒕𝒐 𝒐𝒕𝒉𝒆𝒓𝒔, 𝒓𝒂𝒕𝒉𝒆𝒓 𝒕𝒉𝒂𝒏 𝒔𝒂𝒕𝒊𝒔𝒇𝒚𝒊𝒏𝒈 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇."

⭐ 𝑷𝑳𝑨𝑪𝑬𝑩𝑶, 𝑭𝑶𝑹𝑪𝑬 𝑶𝑭 𝑵𝑨𝑻𝑼𝑹𝑬

After a colossal anniversary tour and nine years of recording silence, 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 are finally back in business. Live from his London rehearsal studio, chameleon rock icon 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 chatted with us at length about his edgy, unconventional eighth release, 𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨.

Photo credit: Mads Perch / Edit by Laetitia

𝑯𝒊 𝑩𝒓𝒊𝒂𝒏! 𝑯𝒐𝒘 𝒂𝒓𝒆 𝒚𝒐𝒖 ?
💬 Oh, I've got a bit of the Monday blues, but I'm fine.


𝑾𝒆 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒂𝒏𝒅 𝒚𝒐𝒖, 𝒆𝒔𝒑𝒆𝒄𝒊𝒂𝒍𝒍𝒚 𝒊𝒏 𝒕𝒉𝒆𝒔𝒆 𝒅𝒊𝒇𝒇𝒊𝒄𝒖𝒍𝒕 𝒕𝒊𝒎𝒆𝒔 𝒇𝒐𝒓 𝒂𝒓𝒕𝒊𝒔𝒕𝒔. 𝑾𝒆 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝒕𝒉𝒂𝒕 𝒕𝒉𝒆 𝒓𝒆𝒍𝒆𝒂𝒔𝒆 𝒐𝒇 𝒚𝒐𝒖𝒓 𝒏𝒆𝒘 𝒂𝒍𝒃𝒖𝒎 𝒘𝒂𝒔 𝒊𝒏𝒆𝒗𝒊𝒕𝒂𝒃𝒍𝒚 𝒊𝒎𝒑𝒂𝒄𝒕𝒆𝒅 𝒃𝒚 𝒕𝒉𝒆 𝒑𝒂𝒏𝒅𝒆𝒎𝒊𝒄...
💬 Yes, of course. We were almost ready to release it and go on tour two years ago. Everything that's happening now is happening in a time lag. And then, our retrospective tour for our twentieth anniversary and the one for 𝐋𝐨𝐮𝐝 𝐋𝐢𝐤𝐞 𝐋𝐨𝐯𝐞 also took a lot of time and energy. Nine years without a new record is a long time, but that's the way it is. Unfortunately, we had no control over it.


𝑻𝒂𝒍𝒌𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒚𝒐𝒖𝒓 𝒓𝒆𝒕𝒓𝒐𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 𝒕𝒐𝒖𝒓, 𝒚𝒐𝒖 𝒓𝒆𝒄𝒆𝒏𝒕𝒍𝒚 𝒄𝒓𝒊𝒕𝒊𝒄𝒊𝒛𝒆𝒅 𝒕𝒉𝒆 𝒇𝒂𝒄𝒕 𝒕𝒉𝒂𝒕 𝒊𝒕 𝒘𝒂𝒔 𝒂 𝒃𝒊𝒕 𝒕𝒐𝒐 𝒄𝒐𝒎𝒎𝒆𝒓𝒄𝒊𝒂𝒍, 𝒘𝒉𝒊𝒄𝒉 𝒆𝒏𝒅𝒆𝒅 𝒖𝒑 𝒆𝒙𝒉𝒂𝒖𝒔𝒕𝒊𝒏𝒈 𝒂𝒏𝒅 𝒆𝒗𝒆𝒏 𝒓𝒆𝒗𝒐𝒍𝒕𝒊𝒏𝒈 𝒚𝒐𝒖. 𝑫𝒊𝒅 𝒕𝒉𝒊𝒔 𝒉𝒂𝒗𝒆 𝒂𝒏 𝒊𝒎𝒑𝒂𝒄𝒕 𝒐𝒏 𝒕𝒉𝒆 𝒘𝒂𝒚 𝒚𝒐𝒖 𝒂𝒑𝒑𝒓𝒐𝒂𝒄𝒉𝒆𝒅 𝒕𝒉𝒆 𝒏𝒆𝒘 𝒓𝒆𝒄𝒐𝒓𝒅 ?
💬 I'm sure it helped shape its sonic palette. It was like a kind of rebellion against this more commercial aspect of the band's life. On 𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨, we really had this sincere desire to lay ourselves bare. Every album we've done has been a reaction to the previous one, but on this one I think it was more in response to this rather masturbatory anniversary tour. On the other hand, I also realize that it did our audience a lot of good. It has taught us to accept the euphoria that the fans give us on stage. And this is probably the first time in my life that I've realized that so much, because I've always made music in a very selfish way. It's a necessary means of expression for me. If this tour has taught us anything, it's that there is value in giving pleasure to others, rather than satisfying yourself.


𝒀𝒐𝒖 𝒔𝒕𝒂𝒓𝒕𝒆𝒅 𝒘𝒐𝒓𝒌𝒊𝒏𝒈 𝒐𝒏 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐 𝒇𝒐𝒖𝒓 𝒚𝒆𝒂𝒓𝒔 𝒂𝒈𝒐, 𝒊𝒏 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍'𝒔 𝒉𝒐𝒎𝒆 𝒔𝒕𝒖𝒅𝒊𝒐 𝒊𝒏 𝑳𝒐𝒏𝒅𝒐𝒏. 𝑰𝒕 𝒘𝒂𝒔 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒕𝒊𝒎𝒆 𝒔𝒊𝒏𝒄𝒆 𝒚𝒐𝒖𝒓 𝒅𝒆𝒃𝒖𝒕 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒃𝒐𝒕𝒉 𝒈𝒐𝒕 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓. 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒕𝒉𝒆 𝒇𝒆𝒆𝒍𝒊𝒏𝒈 𝒐𝒇 𝒂 𝒏𝒆𝒘 𝒍𝒆𝒂𝒔𝒆 𝒐𝒇 𝒍𝒊𝒇𝒆 ?
💬 Actually, I think we started earlier than that, in 2016. It was as if we were back in the early days of 𝐏𝐥𝐚𝐜𝐞𝐛𝐨, and as a pair we realized the endless possibilities that were open to us. We could do anything... so that's what we did, anything ! (𝘭𝘢𝘶𝘨𝘩𝘴) So we started digging in lots of different directions, like we were diving into little imaginary rabbit holes. We were like Alice In Wonderland or Sonic jumping from ring to ring to change dimensions. That's what set the mood for most of the new songs.

Photo credit: Torsten Roman, 2009 

𝑻𝒉𝒆 𝒑𝒍𝒂𝒄𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒚𝒏𝒕𝒉𝒆𝒔𝒊𝒛𝒆𝒓𝒔 𝒊𝒔 𝒎𝒖𝒄𝒉 𝒎𝒐𝒓𝒆 𝒊𝒎𝒑𝒐𝒓𝒕𝒂𝒏𝒕 𝒐𝒏 𝒕𝒉𝒊𝒔 𝒓𝒆𝒄𝒐𝒓𝒅, 𝒕𝒐 𝒕𝒉𝒆 𝒑𝒐𝒊𝒏𝒕 𝒐𝒇 𝒃𝒆𝒊𝒏𝒈 𝒂𝒕 𝒕𝒉𝒆 center? 𝒐𝒇 𝒎𝒐𝒔𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒎𝒆𝒍𝒐𝒅𝒊𝒆𝒔. 𝑾𝒉𝒂𝒕 𝒎𝒐𝒕𝒊𝒗𝒂𝒕𝒆𝒅 𝒚𝒐𝒖 𝒕𝒐 𝒆𝒙𝒑𝒆𝒓𝒊𝒎𝒆𝒏𝒕 𝒎𝒐𝒓𝒆 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒅𝒊𝒓𝒆𝒄𝒕𝒊𝒐𝒏 ?
💬 I guess after twenty-five years of playing guitar, you get intrigued by sounds that still have some kind of mystery to us. So there was something enigmatic about using synthesizers. But we deserve to be enthusiastic and have this freedom ! We've always had this very democratic approach to the use of instruments. Each instrument has to have a specific meaning and role. It has to serve the song. On this album, we didn't want to force ourselves to add guitars to remind us of our identity. We knew it was a danger to force things. One of our biggest influences in that respect is 𝐃𝐞𝐩𝐞𝐜𝐡𝐞 𝐌𝐨𝐝𝐞. When we started 𝐏𝐥𝐚𝐜𝐞𝐛𝐨, my favourite band was Sonic Youth and for 𝗦𝘁𝗲𝗳 it was 𝐃𝐞𝐩𝐞𝐜𝐡𝐞 𝐌𝐨𝐝𝐞. So we tried to make a big mix of those two influences, and finally discovered our own sound. On 𝐍𝐞𝐯𝐞𝐫 𝐋𝐞𝐭 𝐌𝐞 𝐆𝐨, I think there are also traces of 𝐊𝐫𝐚𝐟𝐭𝐰𝐞𝐫𝐤, 𝐂𝐚𝐧, 𝐅𝐚𝐮𝐬𝐭, the whole German krautrock scene that gradually evolved into a more electronic sound, which we always loved.


𝑨𝒓𝒆 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓 𝒂𝒇𝒓𝒂𝒊𝒅 𝒐𝒇 𝒏𝒂𝒊𝒗𝒆𝒍𝒚 𝒇𝒂𝒍𝒍𝒊𝒏𝒈 𝒃𝒂𝒄𝒌 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒐𝒗𝒆𝒓𝒍𝒚 𝒑𝒓𝒆𝒅𝒊𝒄𝒕𝒂𝒃𝒍𝒆 𝒇𝒐𝒓𝒎𝒖𝒍𝒂 𝒕𝒉𝒂𝒕 𝒉𝒂𝒔 𝒔𝒉𝒂𝒑𝒆𝒅 𝒚𝒐𝒖𝒓 𝒔𝒖𝒄𝒄𝒆𝒔𝒔 ?
💬 You know, I've always had a big problem with patience. I tend to get bored very, very quickly. The tricky experience of our retrospective tour made us realize that we needed to get back to something challenging and disruptive. We didn't want to lose ourselves artistically in the past. When I went into the studio, I said to myself, "𝘉𝘳𝘪𝘢𝘯, 𝘮𝘢𝘺𝘣𝘦 𝘪𝘵'𝘴 𝘵𝘪𝘮𝘦 𝘵𝘰 𝘱𝘶𝘵 𝘴𝘰𝘮𝘦 𝘴𝘵𝘳𝘢𝘵𝘦𝘨𝘪𝘦𝘴 𝘪𝘯 𝘱𝘭𝘢𝘤𝘦 𝘴𝘰 𝘺𝘰𝘶 𝘥𝘰𝘯'𝘵 𝘨𝘦𝘵 𝘣𝘰𝘳𝘦𝘥". That's where the idea of doing everything backwards came from.


𝑾𝒉𝒂𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒎𝒆𝒂𝒏 𝒃𝒚 𝒕𝒉𝒂𝒕 ?
💬 Well, I wondered what is the last thing we usually choose when making a record. Most of the time, it's the cover, isn't it ? So let's start with that ! So on our first day in the studio I came up with this image and this idea of doing everything the wrong way round. 𝐒𝐭𝐞𝐟 was very excited about this approach, so we made the whole album that way. This allowed us to renew our creative process, but also to re-imagine our own role as a composer and artist.


𝑫𝒊𝒅 𝒕𝒉𝒆 𝒄𝒍𝒐𝒔𝒆𝒏𝒆𝒔𝒔 𝒚𝒐𝒖 𝒉𝒂𝒅 𝒇𝒐𝒓 𝒎𝒂𝒏𝒚 𝒚𝒆𝒂𝒓𝒔 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 𝒊𝒏𝒇𝒍𝒖𝒆𝒏𝒄𝒆 𝒚𝒐𝒖 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒓𝒆𝒏𝒆𝒘𝒂𝒍 𝒑𝒓𝒐𝒄𝒆𝒔𝒔 ?
💬 Absolutely, but I don't think I have enough energy in me to change characters as many times as 𝐃𝐚𝐯𝐢𝐝 did throughout his career. A few days ago, it was his birthday. He should have been 75. Now I'm almost 50, I'm getting older, so I think about him a lot. When I was my age, he had this huge party at 𝘔𝘢𝘥𝘪𝘴𝘰𝘯 𝘚𝘲𝘶𝘢𝘳𝘦 𝘎𝘢𝘳𝘥𝘦𝘯, where we had the honour of playing. When I was in his orbit, I was young and arrogant. I was convinced that I deserved to be there with him. It wasn't until he left us that I really understood the effect he had on my life as a human being and as an artist. At the time, I didn't realize anything. Today, all this learning makes sense. It's very moving and overwhelming. But somewhere, I have the feeling that I still carry him with me a little, like a mentor, a godfather or a lucky star. Without getting too esoteric, I still feel like I have a relationship with him (𝘉𝘳𝘪𝘢𝘯 𝘴𝘵𝘰𝘱𝘴 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘧𝘰𝘳 𝘢 𝘮𝘰𝘮𝘦𝘯𝘵). Excuse me, it's still very hard for me to talk about 𝐃𝐚𝐯𝐢𝐝 . I am absolutely, unequivocally grateful to him.

Photo credit; Robin Francois

𝑰𝒕'𝒔 𝒒𝒖𝒊𝒕𝒆 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒂𝒏𝒅𝒂𝒃𝒍𝒆...
💬 Sometimes I'm suddenly struck by strong emotions, and talking about 𝐃𝐚𝐯𝐢𝐝 often triggers that for me. I remember having a long discussion with 𝐒𝐭𝐞𝐟 about whether or not we should continue to play 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 on stage. Every time we play it live, we project images of 𝐃𝐚𝐯𝐢𝐝 on the big screens. It's so strong emotionally for me that it breaks my heart a little bit. But I'm sure 𝐃𝐚𝐯𝐢𝐝 would have said to me: "𝘠𝘰𝘶 𝘢𝘳𝘦 𝘦𝘹𝘢𝘤𝘵𝘭𝘺 𝘸𝘩𝘦𝘳𝘦 𝘺𝘰𝘶 𝘯𝘦𝘦𝘥 𝘵𝘰 𝘣𝘦 𝘳𝘪𝘨𝘩𝘵 𝘯𝘰𝘸". He always asked me if I was comfortable with my music. If I said yes, then he would tell me that I was not ! (𝘭𝘢𝘶𝘨𝘩𝘴) For him, you had to be uncomfortable, all the time. 𝐒𝐭𝐞𝐟 often reminds me of this phrase when I get too emotional during a live performance.


𝒀𝒐𝒖 𝒑𝒓𝒆𝒗𝒊𝒐𝒖𝒔𝒍𝒚 𝒎𝒆𝒏𝒕𝒊𝒐𝒏𝒆𝒅 𝒕𝒉𝒆 𝒄𝒐𝒗𝒆𝒓 𝒐𝒇 𝑵𝒆𝒗𝒆𝒓 𝑳𝒆𝒕 𝑴𝒆 𝑮𝒐. 𝑾𝒉𝒂𝒕 𝒅𝒐𝒆𝒔 𝒊𝒕 𝒓𝒆𝒑𝒓𝒆𝒔𝒆𝒏𝒕 𝒇𝒐𝒓 𝒚𝒐𝒖 ?
💬 It's a pretty cool story. It's a picture of a beach, 𝐆𝐥𝐚𝐬𝐬 𝐁𝐞𝐚𝐜𝐡, north of San Francisco, California. In the 50's, or maybe even a little bit before, this bay was used by humans as a kind of garbage dump. They used to dump everything in it: cars, fridges... all their crap ! A few years later, they did a big clean up, removing all the metal. They then realized that the water had polished off all the glass bottles underneath, forming a unique beach filled with small multi-coloured pebbles. To me, this is a good representation of how nature acts in response to the harmful actions of human beings. We use our ecosystem as a giant bin. In other words, we shit on it ! (𝘭𝘢𝘶𝘨𝘩𝘴) In addition to cleaning up our mistakes, our planet manages to make something beautiful out of it. I think it's a very strong message. It's also an increasingly topical theme, which I wanted to highlight on the record. Today, it's almost impossible to make an album without mentioning the ecological crisis.


𝒀𝒐𝒖 𝒂𝒅𝒅𝒓𝒆𝒔𝒔 𝒕𝒉𝒆𝒔𝒆 𝒆𝒏𝒗𝒊𝒓𝒐𝒏𝒎𝒆𝒏𝒕𝒂𝒍 𝒊𝒔𝒔𝒖𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒅𝒚𝒔𝒕𝒐𝒑𝒊𝒂𝒏 𝒂𝒏𝒅 𝒂𝒅𝒅𝒊𝒄𝒕𝒊𝒗𝒆 𝑻𝒓𝒚 𝑩𝒆𝒕𝒕𝒆𝒓 𝑵𝒆𝒙𝒕 𝑻𝑰𝒎𝒆...
💬 Like the other tracks, I wanted to express myself more honestly about what I think of the world today. I wanted to capture all the confusion that surrounds it. This song is based on the theory of evolution. An animal or an insect adapts to its environment, while a human being adapts it according to his moods. What is implicit in this, even beyond what my lyrics or the cover of this record suggest, is that nature will always eventually take over. The world we destroy day after day will return to its wild state when we disappear, which at this rate may happen sooner than expected. How can I not get the Monday blues when I think about this ? (𝘭𝘢𝘶𝘨𝘩𝘴)
✔️ 𝙼𝚈𝚁𝙾𝙲𝙺 𝚖𝚊𝚐𝚊𝚣𝚒𝚗𝚎 𝚗°𝟽𝟺 - 𝙼𝚊𝚛𝚌𝚑 𝟸0𝟸𝟸
✒️ Translation and transcript by Laetitia

⭐ Brian being emotional when speaking about David Bowie is so touching 💗
⭐ Four days before the album release ! 😄 Do you feel the excitement growing up dear Soulmates ?? 🔥 🎶 🎸

Posr by Laetitia