#brian molko moment

[guitarnacle]

Brian molko performing teenage angst live in Brixton 98

[srcepiksla]

and if you're ever around in the city or the suburbs of this town be sure to come around i'll be wallowing in sorrow, wearing a frown, like Pierrot the Clown

[milfygerard]

oh i forgot to mention I had an unemployment mid-afternoon nap which is fuzzy to remember now but im positive there was sex on a stage and also brian molko was there and had such beautiful eyes

[pikslasrce]

😗

[bharv]

This quiz came into my home, wtf

one of those "i judge your taste in men" quizzes except it's text-based and i actually like men so this one's not mean <3

[shilohtx]

this is like a top 5 brian molko moment to me idk....

[desirepathzine]

Placebo's Vision of the Present

Placebo are a band that I feel don't get enough credit for describing exactly how it feels to live in our modern age: the paranoia, the anxiety, the hedonism, the big fears and big loves that dominate this moment in time. And they've been exorcising those demons for a while. Headed up by Brian Molko and Stefan Olsdal, the group has been an authentic voice in music since their debut in 1997.

Maybe it's my American perspective, seeing as Placebo are largely known and celebrated in the UK, but I find their insight to the current era shockingly prescient. This isn't surprising for their 2022 album Never Let. Me Go but even beyond their most recent entries, Molko and co.'s vision of what it's like to be alive is shockingly in tune with the struggles folks of all ages are experiencing.

I was a latecomer to Placebo's catalog, again, not knowing much of them thanks to being based in the United States. Their late 90s debut was a little after my primary era of interest growing up and it wasn't until a few years ago that friends recommended I listen to them. I immediately connected. Their music still feels so fresh and vital, even earlier releases. And it's rare that a band that have been going for so long still have those vital and fresh things to say, their newest record a perfect addition to the catalog.

There probably isn't a better band than Placebo to talk about our relationship to medication, the internet, the climate crisis, and our deteriorating inner lives thanks to the pressures of modern social mores. Those themes are omnipresent in their music, and have been for some time. Always on the outside of society's limitations, especially in their debut era, who better to talk about isolation and alienation than Brian Molko, wearing skirts and makeup whilst Britpop's machismo swagger dominated their homeland's music charts?

Brian has described Placebo as "by outsiders, for outsiders" and that pretty much nails it. There's a deep loneliness in so much of their music, on the personal scale. But even more than loneliness, isolation from a world that feels like it has absolutely derailed, but that music also never quite falls fully into total misanthropy. There's a real beating heart at the center of a Placebo record, however bruised it might be.

Especially recently, I find Placebo's antagonistic fascination with technology particularly apt. When I saw the band in 2023 in Chicago, I knew that Brian had previously been vocally adamant that no phones be used during the show, a request mostly followed by our crowd that night in April. But the band has an Instagram presence, and were early adopters of the internet in order to promote back in the day. Their lives shows also feature a fantastic live glitching video setup that lends a surreal tone to the evening.

This is perhaps best exemplified in their song "Too Many Friends", a fan favorite meditation on how the internet spreads a human too thin, living a life of consumption in order to be consumed. Starting with the absolutely banger line "my computer thinks I'm gay", the song can occasionally inspire laughs, especially if you're not expecting it (I admittedly did this on first listen), but it is a genuine, heartfelt, and morose exploration of the digital era of relationships being defined by the screen. In this age of connection, we are all increasingly isolated. Brian laments that he'll never be there personally for all of the people who he might have otherwise called a friend online. It's something I think we've all faced. Someone you don't actually know well enough, or someone so far away that you can't really do anything for them, or have the in-person element of that relationship. It also deals with how the internet defines us, our boxes that we tick for it, the demographics and information that it collects from our true identities and commodifies for capitalistic gains. In response to that banger opening line, Molko later answers "what's the difference anyway?" How do you even engage with the machine anymore? The answer might be "just don't".

The paranoia aspect that I can relate to feels most vital to their latest release, Never Let Me Go. Surrounded by Spies and Sad White Reggae are two of the standout tracks on the record, and describe an onslaught of tragedies, ailments, and fears that can compound simply by existing in a world with a 24 hour news cycle, along with cryptic personal missives from the band. They also revisit their climate anxieties on Chemtrails and Try Better Next Time, the plastic islands starting to pile up on the cover of the record made manifest in the music.

The hard stance for outsiders made in their early work sees its result in these later releases. Did anything change by making these stands? Maybe. Did the world actively get worse? Maybe. Are Brian and Stefan still here trying to dissect these ideas, albeit with more lived experience, sobriety, and the increasingly ominpresent internet linked them to more and more people? Absolutely. I appreciate their vulnerability, musicality, rage, anxiety, and ultimate willingness to write how they feel. In expressing their isolation, Placebo brings the outsiders together, a last rebellion in a shrinking world.

[toohalloweeny]

brian molko nonbinary moment at the placebo show

[transmascpetewentz]

Here are a few of my thoughts on Velvet Goldmine after my first watch:

The Maxwell demon is definitely symbolism for the discovery of treatments for HIV. Maxwell's demon is a thought experiment who how you can reverse the constant chaos of the universe, so it seems obvious that a bisexual Maxwell's demon from a 1990s movie would have such symbolism. Also, "six feet down at age twenty five" sounds a lot like young deaths.

Curt was insane in a good way. I liked his character arc, actually. Gimme Danger was such an emotional moment because this victim of torture who was abused for showing desire, finally got up there and screamed to thousands of people in the crowd what his desires were. His support of Arthur, a younger MLM man, at the end shows how much he actually cares about other people despite his almost un-human portrayal at the beginning with TV eye.

Brian Molko is unbelievably hot in that film especially. But more seriously, Placebo's appearance in the film was particularly unique. I liked it a lot and 20th century boy is a fucking banger.

I liked the Oscar Wilde plot point, actually. I think it very much ties into the "from an older gay to a younger gay" theme in the film, which shows up when Brian Slade gives Arthur the courage to come out, when Curt and Arthur have sex, and many other times. It goes all the way back to over a hundred years before the events of the film.

The film didn't make sense for the first 3/4. Then the last 30 minutes were some of the most emotional parts of a film that I have witnessed. It is truly incredible.

[withoutyouimsaskia]

The Placebo Effect

When it comes to music, for me, there is no other band that compares to Placebo.

Placebo came into my life when I was around 9 or 10 and they changed my life. I didn't understand the gravity of the lyrics in many of the songs but I loved the sound of them. It was unlike anything I had ever heard before (or since for that matter).

Brian Molko and Stefan Olsdal inspire me every day. They are two of my favourite people on the planet. The influence they have on me is profound. I find solace and joy in their art and their aesthetic informs a lot of the choices I make with clothing and makeup.

Their music is a safe space.

They are the reason I created a Tumblr profile; I wanted photos and GIFs of them on tap. My username and bio description are Placebo related and my profile picture was taken with a special filter they made when the Surrounded by Spies single was released in 2021.

I was fortunate enough to see them live for the first time last night (13/06/23) in my favourite venue. Second row. Right in front of Brian. So close that I could see the blue-green of their eyes.

Right from the opening chords of Forever Chemicals, I went to another plane and still haven't come back.

This was the one. The perfect concert.

They are masters of their craft. The mix of older and newer songs. The relevance of the lyrics. Every note was poignant and visceral. The power in Brian's voice was stunning.

Seeing the enjoyment on Brian and Stefan's faces as they smiled and gave knowing looks to each other, it warmed my heart. I made eye contact with both of them several times and being able to connect with them like that was unbelievably special.

I sang to every song, and danced and jumped. I threw my hands up and shook my hair around. I cried when they played Song to Say Goodbye and Happy Birthday in the Sky. I kept putting my hand on my chest, right over my heart, so I could feel the vibrations of the music. I let go of my inhibitions. I love that they encouraged a no phone/camera policy; it was a room full of people living in a unique moment. For 23 songs, they had us in the palm of their hands.

It was a gift to share that time with them. To watch them do what they love and to hear songs that I connect to on such a deep emotional level.

When they left, the cheers and clapping went on for ages and I started to process what had just happened.

Outside, I reunited with the friends I had made while queuing and inside the venue, and we had a very excitable de-brief together, took group photos and exchanged contact details.

It was a perfect evening. I was euphoric. Floating far above the metaphoric clouds.

And then I met Stefan. Actual Stefan Olsdal. One of my absolute favourite people. I had written a letter to him and Brian and decided to ask the security people outside the tour bus if they could get it to them. I got an even better and totally unexpected offer: "would you like to meet Stefan?"

The next thing I know, he's coming out the bus to specifically speak to me.

It was so easy to talk to him. He's very softly spoken and sweet. He asked me how long I had been following them and was surprised at how young I had been. He also seemed excited that it was my first time seeing them.

I did gush a bit incoherently but he was lovely and and comforting. His replies to my praise were humble and precious. I loved seeing his smile up close. He also gives very satisfying and long hugs. I adore the photo we took together and I will treasure it forever.

I mean, look at Stefan's beautiful face.

Thank you Placebo for your art, and for last night. It was like being in a dream. I will never be the same again ❤️

[guitarnacle]

Craziest eyelash extensions I've ever seen !!

[allfillernothriller]

Yard Act (+ Murkage Dave) @ Cabaret Sauvage, Paris, Dream Job Tour, 05.04.24

I made 4th-5th rows! Which isn't bad at all considering how tiny the Cabaret Sauvage is (there's no barrier, the front row's at the foot of the stage. From the 4th row, I wasn't further away from the stage than I was back when I was front row at Ally Pally for Jamie T).

I was once again rewarded for my decision to NOT listen to Murkage Dave before going. Hearing new stuff for the first time live slaps, that's why I love festivals and support acts. Successfully set myself up for a nice surprise ✨

I took a shit ton of videos, kept the parts that were decent enough, and compiled them in a montage like it's 2013. Here's the link:

[YouTube description:

[CW eyestrain: flashing lights @ ppl prone to seizures, proceed with caution]

Disclaimer! I can't afford a fancier phone and I'm no pro. Not to mention the fact that I will NEVER sacrifice my live experiences over footage. So yeah, it's shaky, but again, if I feel like dancing, I'll do just that; and if I'd rather keep my eyes on the band than make sure they're in the frame, that takes priority too. I guess what I'm trying to say is that those are primarily there for me to relive the memories, they weren't meant for aesthetics. Buuut, that doesn't mean I can't share them with you, does it?

Dropping this collection of excerpts from the gig like barging in your living room with a stack of pics from my latest trip. Look, I'm no film editor either, and evidently my brain was stuck in 2013, so that cringeworthy montage will have to do.

I know it's a shame I didn't record Payday & Dark Days (among others), but what can I say? I was too busy moshpitting.]

The atmosphere was incredible. There was a respectful vibe in the audience that made me feel safe. I actually partook in a moshpit wilfully and without fear for the first time in my life and that is a HUGE deal to me bc I'm usually too big of a wuss to try and on the rare occurrences I got caught up in one, people pushed too hard and some wound up hurt. Not this time. No one pushed too hard, no one tripped over, it was all friendly, benevolent horseplay and I HAD fun!!

A few complementary anecdotes:

When they played Land of the Blind, someone from the front row handed James a coin for the 'magic trick' part of the song. Who was this anonymous hero? Was it a spur of the moment decision? Did they just happen to have a coin in their pocket? Did they plan this??? So many questions. Defo in my top 3 most wholesome moments I've witnessed at a gig.

Most of my fellow croissants didn't know the words (I mean apart from The Overload and 100% Endurance bc they're from the 1st album; or they knew the words but couldn't pronounce them? Idk, point is, they didn't sing much), which was to be expected, but there were a few expats & brit tourists here and there, and throughout the concert, after a coupla moshpits & crowd movements, nearly all of us english speakers ended up gathered in a single group and we all sang along together: that was mint.

James pointed at everyone he could see wearing a trench coat and I was among them 🥰

Once again, not so many ppl knew the words, especially the newest songs. And there was me, who's obsessed with song lyrics, singing along nearly the entire time. The look on James' face when he made eye contact with me during When the Laughter Stops, Fizzy Fish and A Vineyard for the North, and realised I was singing too was priceless. He had the same reaction all 3 times lmao. The man was a mix of surprise, confusion, pride and amusement, he's such a sweetheart 🥲 I'm always a tad apprehensive when I get caught singing by the artist bc I don't know how'll they react, they all tend to feel differently about audience participation (e.g. Jamie T loves it so much when we sing along, I suspect it's one of his favourite things about going on stage and Brian Molko didn't pay it much mind, like it made not much of a difference to him lol) but James didn't seem to dislike it (I've heard there are artists who hate it but no one I've seen so far). I posted the bit from the video with the caption "backing vocals from the pit" to my Instagram story mentioning them and they shared it to theirs, so I take it they're okay with pit choirs.

James asked us to make some noise and when he saw how responsive we were, he had us do it 5 more times like he couldn't help himself and his giddy giggling made it impossible to be annoyed with him tbh

I love them. I love them so much.

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

Bonuses

One thing I didn't include in the video

The mandatory pre-gig youth hostel mirror selfie to show off my fit

Turning my trench coat into an Ace Trench Coat™ with merch

[nocompromise-noregrets]

five good things

oh, I really need one of these right about now. I am Not Having A Good Time at the moment, and when I looked up the symptoms of Age-Related Loss of Plot at the weekend, I had almost all of them and have been collecting them for some time (some of them probably more than five years wtaf). I am the world's least self-aware person, but I have been meaning to do something about this for a while (like a year, it has taken me a year to even fill in the online consultation form for the GP, given that it requires executive function to remember to fill the form in during surgery hours because that's the only time it's available, and I have Precisely None of That Any More...) So, let's try and think of five good things to remind myself that not everything is anxiety and depression and lack of executive function and motivation...

I have a doctor's appointment for the aforementioned Age-Related Loss of Plot, having had an absolute crisis last weekend and then set myself a reminder for 8am on Monday morning when the GP surgery opens to fill in the blasted online form. I may have slightly over-egged some of my symptoms, but then again I may not have, my idea of what's normal is clearly a little skewed, and at least it got me not only an appointment, but an in-person appointment, in just under two weeks, no less. I can hang on till then.

I have a pair of bike jeans that fit! I've spent the last three or four gloriously sunny weeks unable to get on the bike because my effing protective jeans don't fit any more, and I've been ordering pairs, finding they don't fit, sending them back, ordering more, finding they don't fit, sending them back - but my latest order actually FITS (more or less, I'm going to have to take the ends up a little but that's OK), so on Monday I can finally take the bike to work again! I've been SO frustrated sitting in traffic in the car, and I can't wait to get back to filtering :D :D :D

@writersmonth's Writers' Pride Month Bingo event has got me writing my original characters Hal and Jack again and I'm so enjoying it. I bloody love them, especialy Jack, who is damaged and obnoxious and unintentionally hilarious on occasion, and I'm off to the pub in a bit to do a bit of writing (with any luck), either on that or the Barduil reincarnation story that @piyo-13 gave me the idea for during Barduil Month...

The weather is lovely - warm and sunny, not too hot, and it's been such a relief after all the rain we had in March and April.

We've been watching Ted Lasso, Yellowjackets and Peaky Blinders just recently and enjoying them all.

I went to see Def Leppard in Sheffield the other week with my friend from work and we had a brilliant time - they were the first band I ever saw, in June 1992, and I hadn't seen them again since - they were absolutely excellent, and even though we had to sit through Mötley Crüe being utter throwback misogynistic shite first (I have issues with them anyway, long story, but ffs, they think they can still get away with their 80s creepiness and it was very unpleasant to watch), it was deeply pleasurable to see the Leps absolutely blowing them off stage.

And I'm seeing Placebo for the first time in about ten years on Monday, postponed from December when Wee Brian Molko got the flu. Super excited about that!

That'll do. Little reminders to myself that all is not yet lost...

[pikslasrce]

@ god stop making me have dreams where im friends w my fav band guys

[mordopolus]

Liste: Die 20 besten Alben 2022

Ihr könnt es euch denken: Irgendwo auf diesem Blog schlummert ein Kommentar zum Musikjahr 2022, vor allem aber zu persönlichen Entwicklungen im Hör- und Sammelverhalten und also überhaupt eine erneute Bestimmung dessen, was Brennen Muss die Liste! aktuell gerade ist und mit mir, aber - und hier schlösse sich der Kreis - eben auch der vorliegenden Liste zu tun hat, die zwar ab und zu ihre Form, nicht mehr aber ihre Verbindlichkeit geändert hat. Der Kommentar ist mittlerweile veraltet und soll daher ruhen; die Liste soll aber, wie es mittlerweile gute Sitte ist, ein Jahr später als gewohnt folgen. 

Interessant scheint mir selbst mit Abstand, dass in einem Jahr, in dessen Nachgang ich wenig (des Nachholens Willen) nachgeholt habe, sondern eher auf der Liste landete, was ich eben so mochte, dass eben in diesem Jahr doch recht viele Konsenstitel auf eben dieser Liste landeten. Fragen lässt sich nun: Welcher Konsens eigentlich, fehlt da nicht auch viel, und gibt es da nicht auch viele Idiosynkrasien, und die Antwort lautet: Ja, klar, ja! All das gehörte zum Zugeständnis, Ende 2022 zu notieren, was ich so hörte und mochte, und im nächsten Jahr dann sporadisch darum zu ringen, was nun wirklich auf dieser Liste landen sollte - bzw. welchen Umfang sie haben sollte, auch, um überhaupt irgendwann geschrieben werden zu können, aber mindestens ebenso, weil der Fantano-artige Großkritiker-Größenwahn wenn nicht abgelegt, so doch zumindest mal wieder befragt werden kann.

Es gab diese Liste also mit 10, dann doch 25, kurz auch 15, und nun schließlich 20 Plätzen, während die einzelnen Titel munter von oben nach unten purzelten. Dabei deuten sich Tendenzen an, die - so viel kann man am 31. Dezember 2023 ja auch mal sagen - auch die nächste Liste prägen werden. Es wird also noch über den Spaß zu schreiben sein, Feinheiten in Spätwerken von Künstler*innen zu erkennen, mit denen ich nun langsam alt werde - und denen andere hoffentlich ebenso fassungslos gegenüberstehen wie ich früher irgendwelchen Pearl-Jam-Huldigungen im deutschsprachigen Rolling Stone. Es wird auch um die Freude gehen, in einem zerlaufenden Konsensen spazieren zu gehen und umso überraschendere Überschneidungen feststellen zu können. Einige davon habe ich nachfolgend neben eigenwilligen und teils hängengebliebenen Vorlieben notiert.

20. Placebo/Never Let Me Go

Es brauchte etwas Abstand, um das eher unwahrscheinliche (FU: Drummer jetzt endgültig weg, letztes Studioalbum 2013, größte Songs längst geschrieben, neue ewig nur diffus im Gespräch) achte Placebo-Album schätzen zu lernen. Aber gerade in seiner Schwerfälligkeit steht “Never Let Me Go” Brian Molko und Stefan Olsdal wirklich gut, vereint Electronica und Art Pop, bietet neben Paranoia und Melancholie auch schöne Momente (”Beautiful James” besitzt eine Klasse, die ich beim ersten Hören verkannt habe), ohne nochmal die Geschichte von der endlich glücklichen Band bemühen zu müssen. Placebo sind klar erkennbar, verlieren sich aber nicht in der Kopie, sondern finden neue Nuancen.

19. Tocotronic/Nie Wieder Krieg

Ganz leicht war es nicht mit mir und dem 13. Album der Gruppe Tocotronic: Die (unmittelbaren) Vorab-Singles wirkten zu 2/3 irgendwie behäbig-uninspiriert, das fast zwei Jahre zuvor erschienene “Hoffnung” war 2020 gute Geste, aber nun ja eher kein wirklich guter, albumwürdiger Song, und überhaupt wirkte die Band auch in den gelungenen Momenten - vom zwischen Frühphase und Udo Jürgens schwankenden “Ich hasse es hier” bis zum 80er-informierten “Crash” - etwas arg alterswerkig, zunehmend schrulliger, und einen ästhetischen Zusammenhang wollten die Songs auch nicht recht ergeben. Es brauchte Zeit, um auch den abschließenden, weltumarmenden Streicher- bzw. Akustikpop und den mit lockerer Hand ruckelnden Rock des ersten Viertels erst für sich zu begreifen und dann zusammen in Tradition eines Albums wie “Wie wir leben wollen” zu schätzen.

18. Messa/Close

In den vergangenen zehn Jahren kroch ich durch viele Versuche, den Rock der 70er nochmal aufleben zu lassen - mal eher Richtung Proto-Metal, mal ganz den Schweinegitarren verpflichtet, mal streng als Sound, mal eher als Pose. Manches war gut, aber weniges hatte die Kraft von “Close”. Messa spielen hier, als wäre ihre Musik eben keine Reminiszenz, sondern stünde ganz im Jetzt, ein Sound, der noch flexibel ist, sich streckt, dabei intensiviert, in die Dunkelheit steigt, sich verflicht und auch verglühen kann.

17. 070 Shake/You Can’t Kill Me

Seit nun doch geraumer Zeit steckt 070 Shake in einem Limbus. Niemand weiß recht, ob sie Hype ist, der verpuffte und nun unangenehm in der zweiten Reihe hängt, weil nichts mehr diesen Part in “Ghost Town” toppen konnte, oder umgekehrt eher eine Person, die die Leute fahrlässig übersehen, kurz: Ob sie ihren Zenit überschritten hat oder da noch was drin ist. “You Can’t Kill Me” ist nicht an Antworten auf diese Frage interessiert, verliert sich stattdessen abseits alles Hit-Drucks (der dann mit “Escapism” ja doch noch ein Ergebnis förderte) in einer Weite, die sich mit Murmeln und Croonen, Geklöppel und Synths und Trap anfühlt, als verlöre man sich mit sehr dichtem Kopf in einem Perlenvorhang. Tendenz gerade: Zu Unrecht übersehen, vielleicht aber in der zweiten Reihe gar nicht schlecht aufgehoben.

16. Grima/Frostbitten

Wieder Winter, wieder Prügel, dieses Mal aber ein bisschen leichtfüßiger und sogar mit Quetschkommoden-Intermezzo - vor allem aber nach wie vor der tollste, unödeste Kitsch-(Post-)Black-Metal, den es gerade gibt.

15. Beabadoobee/Beatopia

Was auf dem Debüt teils noch nett angedeutet war, dudelt Beabadoobee auf “Beatopia” zu vollends überzeugender 90er-Gitarrenpop-Grandezza, die sehr nach 2022 geklungen haben wird.

14. Cloakroom/Dissolution Wave

Im Heavy Shoegaze gibt es gerade nicht viel neues zu wissen - wie Cloakroom aber Stoner zu wolkigem Dudelrock puffen und auch in konturierten Momenten nicht aus ihrer wattierten Wohligkeit fallen, verpasste dem Genre zumindest eine neue Konsistenz: fluffig-rau.

13.  Charlotte Adigéry & Bolis Pupul/Topical Dancer

Nicht alles war 2022 so leicht wie die Erfahrung mit “Topical Dancer”: Nach einem Telefonstreich- bzw. Wir-verstehen-uns-alle-nicht-mehr-inmitten-ständiger-Kommunikation-Intros zog diese gemeinsame Platte von Charlotte Adigéry und Bolis Pupul unmittelbar in einen Fluss aus (French) House und Funk, Pop ebenso verpflichtet wie postkolonialer Theorie. Vielleicht war es so ja mal mit dem coolen Wissen gedacht.

12. Sorry/Anywhere But Here

Wer hört, wie sich diese gerade coolste Band der Welt durch ihr zweites Album druckst, um sich am Ende resigniert mit dieser tieftraurigen Gitarrenfigur dem Loop zu fügen, und davon nicht tief berührt ist, hat für Indierock vermutlich gar nichts mehr übrig.

11. OG Keemo/Mann beißt Hund

Das Debüt konnte mich nicht ganz gewinnen, aber “Mann beißt Hund” ist ein Album, das es fast faktisch falsch wirken lässt, ungeschätzt zu bleiben. OG Keemo erzählt, und erzählt, und macht Ansagen, und die Beats rutschen und alles hat sowieso eine derartig strenge Lockerheit, wie man sie dann doch vielleicht am ehesten von (ja, ja, ich weiß, aber:) Kendrick Lamar kennt. Mit dem alles andere hier freilich nichts zu tun hat. Ein Instant-Klassiker - im Rap ist es irgendwie gerade noch möglich.

10. The Smile/A Light for Attracting Attention

Braucht noch wer Meinungen zu Radiohead-Seitenprojekten? Gerade im Fall von The Smile sind sich ja viele einig, dass wie Tom Skinner die beiden Radiohead-Köpfe Yorke und Greenwood (Jonny) nach vorne kickt, mitten rein in jenen vertrackten Extended Art-Rock, nervös und melancholisch und bisweilen auch beschwingt, vor allem aber verspielt und meist irgendwie doch eingängig, in jenen Sound also, den man von der großen Band aus den 00er Jahren kennt, den sie gerade aber nicht spielen können oder wollen, dass jedenfalls dieser Sound nun in dieser kleineren, leicht modifizierten Mischung möglich ist, schlicht als schön zu bezeichnen ist. Und ja - das finde ich halt auch.

9. Rosalía/Motomami

Wenn sich die Menschen an 2022 erinnern, werden sie (hoffentlich) an dieses Album denken. Wie sich hier Energie alle zwei Minuten in andere Richtungen (mal eher Folklore, mal eher direkt auf die Nerven hauender Art-Pop) Bahn bricht, ist umso bemerkenswerter, weil Rosalía ein Star ist. Manches tat weh, aber alles war schön.

8. Viagra Boys/Cave World

Mit “Cave World” wurden die Viagra Boys zu den besseren, dreckigeren Gorillaz. Okay, vielleicht nicht 1-zu-1, aber: der wilde Stilmix, die Melodien, die bisweilen gern auch plakative Kritik an der Gegenwart (hat die Debatte dazu eigentlich Pitchfork angestoßen?), und überhaupt Sebastian Murphy in der Mitte all dessen konnten bisweilen auf eine Art an Damon Albarn erinnern. Bei aller Diskussion (Sound nun verwässert, Kritik zu kurz gedacht) eröffnete mir “Cave World” diese Band - vielleicht auch das ein Grund für meine ungetrübte Wertschätzung.

7. Foxtails/Fawn

Wieder so eine krude Geschichte um diese Band, die dann aber medial so wenig durchgekaut wurde, dass ich am Ende nix davon verstand. Also abseits davon: Starkes, verzweifeltes, rasendes Album, das eine bestimmte Sensibilität (Nerven liegen blank in all ihrer Plastizität Geschrei + eher feinfühlige, geigige Musik dazu) gut kitzelte. Hoffentlich kommt da noch was?

6. Björk/Fossora

“Fossora” ist krumm, es gibt wirre Melodien, ein Öko-Konzept und mäandernde Songs, wie sie gerade für jüngere Björk-Releases typisch sind. Aber es gibt da eben auch diesen hämmernden Troll-Gabba, diese vielen Stimmen, die zuletzt liebgewonnenen Flöten und in den richtigen Momenten eine Aufgeräumtheit, die Björk auf ihrem (ca.) zehnten Album hervorragend steht! 

5. Backxwash/His Happiness Shall Come First Even Though We Are Suffering

Von einer Trilogie lohnt es angesichts der drei jüngsten Backxwash-Alben allein zu sprechen, weil sich an ihnen so hervorragend beobachten lässt, wie die Rapperin eine Sprache entwickelt, ein Thema bearbeitet: Vom rauen, Sample-lastigen “God Has Nothing to Do with This Leave Him Out of It” über das in die Breite gehende, feiner ausgearbeitete, dabei aber ein wenig an Wucht verlierende “I Lie Here Buried With My Rings And My Dresses” bis zu “His Happiness Shall Come First Even Though We Are Suffering”, das dem Vorgänger ähnlich auf eigenen Beinen steht, dabei aber keine Dringlichkeit vermissen lässt, sondern nochmal allen Furor aufs Parkett bringt, mit Samples atmosphärische Dichte erzeugt - und Backxwash vor allem als ikonische Stimme festigt. Letzteres haben die Gastauftritte des Jahres 2023 bestätigt - gespannt darf man nun sein, was von diesem Punkt aus möglich ist.

4. Black Country, New Road/Ants From Up There

Man musste nicht mal diese Liste ein Jahr verschleppen: Schon bei Release gab es die Band, die wir auf “Ants From Up There” hören, nicht mehr. Nun können wir schöne Mythen schmieden, dass sie mit ihrer vielleicht noch etwas variableren, dabei stärker songorientierten und aufgeräumteren zweiten Platte diesen einen Stil eben schon perfektioniert hatten - wir können auch spekulieren, was hier noch möglich gewesen wäre, können uns aber auch einfach in dieses ungestüme Stück Barock-Pop fallen lassen, so perfekt fiebrig zwischen Indie-Pomp und tanzbaren Bläsern und japsendem Storytelling und großer, exaltierter Geste wedelnd, mit einem einzigartigen Geschmack, der nicht vergehen wird und so wirkt, als habe es diese Band schon immer gegeben, als habe sie in der Pop-Geschichte Wurzeln geschlagen. 

3. Fleshwater/We're Not Here to Be Loved

Vom Cover (Ente) bis zum Cover (Björk) agieren Fleshwater im Zeichen der 90er, enden dabei aber dankenswerterweise nicht als tumber Tribute oder im Zitat eingeengt. “We’re Not Here To Be Loved” spielt Post-Hardcore, Nu-Gaze und sonstigen Alternative-Krempel so durchdrungen, wie es eben in jener Zeit möglich war, als die Stile noch flüssig waren, überhaupt erst geprägt wurden. Dass Kurt Ballou das Ganze zwar im Keller verortet, aber doch luftig und sauber klingen lässt, auch wenn es wetzt und haut, hilft auch, um die Platte zu einer der unauffällig-schönsten des Jahres werden zu lassen. 

2. Beyoncé/Renaissance

Ich hatte nie einen Vertrag mit Beyoncé. Ich kannte die Hits und schätzte eben diese irgendwann so, wie man eben Hits von Pop-Stars schätzt, ohne diese gleich auch schätzen zu müssen. Beyoncé war über diesen Status freilich spätestens mit “Beyoncé” hinaus - nun war sie Kunstwerk, das ich irgendwie nicht fühlte, vielleicht auch ganz konkret, weil mir der technische Zugang fehlte. Die Geschichte wiederholte sich mit “Lemonade”, ich hatte mich also eigentlich recht gemütlich in meiner Meinung eingerichtet, als mich die nicht direkt hittige, eher treibende Single “Break My Soul” traf. Deren etwas arg lose Enden deuteten bereits auf die Struktur von “Renaissance”, das mit Disco und House, angepassten Zeilen und angeeigneten Zitaten, dutzenden Gästen und einem klaren Zentrum nicht nur zu beeindruckender Dramaturgie, sondern vor allem Energie findet. Wie bei Beyoncé zu erwarten, saß jeder Schweißtropfen perfekt - immerhin schwitzte aber wer bei dieser fraglos harten Arbeit.

1. Big Thief/Dragon New Warm Mountain I Believe in You

Keine Ahnung, wie man auf dieses Album in Jahren blicken wird. Es ist das Album nach dem heroischen Moment, und es bordet über, im Titel, vor allem aber auf der Tracklist. Big Thief variieren auf 20 Songs ihr Repertoire, stolpern durch Krach und Zärtlichkeit, behäbig, klappernd, vereinzelnd auch rockend, kurz: Das Quartett entfaltet sich in einer unsortierten Sammlung von unvorhersehbarem Rhythmus. Vielleicht erscheint “Dragon New Warm Mountain I Believe In You” in der Zukunft als Dekadenzwerk einer fraglos talentierten, hier nun aber orientierungslosen Band. 2022 war es die schönste Musik, die ich mir vorstellen konnte.

[the-hindu-times]

PLACEBO - Piece Hall, Halifax 25/6/24

photo: The Piece Hall/Cuffe and Taylor

On Tuesday I attended Placebo's concert at the historic Halifax Piece Hall, it was nothing short of a transcendent experience, where the band's electrifying performance merged seamlessly with the venue's ethereal ambiance.

A personal highlight started before any of the live music where the Piece Hall supported a pre-gig marriage proposal from one of the attendees. Naturally she said “Yes” and the tone was set.

The evening was a perfect blend of nostalgia and contemporary brilliance, as Placebo delivered a setlist that traversed their storied career, from early hits to recent gems.

The night kicked off with "Taste in Men," instantly setting the tone with its brooding intensity. The energy in the air was palpable, and as they transitioned into "Beautiful James," the crowd was enveloped in a wave of euphoric soundscapes. The Piece Hall, with its grand architecture, seemed to magnify every note, prompting Brian Molko to declare that it sounded better than a Roman amphitheater—a sentiment that echoed the audience’s awe.

"Scene of the Crime" was a masterclass in atmospheric rock, followed by the visceral punch of "Bionic." The band then transported the audience with the haunting "Surrounded by Spies," a track that showcased their ability to blend dark, lyrical introspection with sonic boldness. "Soulmates" and "Sad White Reggae" continued this journey, each song a testament to Placebo’s unwavering emotive power.

"Try Better Next Time" brought a refreshing burst of optimism, a contrast to the melancholic beauty of "Too Many Friends." "Went Missing" and "For What It’s Worth" were executed with raw passion, building up to the poignant "Song to Say Goodbye," which left many in the crowd visibly moved.

As the show neared its climax, "Bitter End" and "Nancy Boy" reignited the fervor, the latter causing an eruption of nostalgia among long-time fans. "Infra-Red" maintained this momentum, its driving beats resonating through the historic walls.

The highlight of the night, however, was their mesmerizing rendition of "Running Up That Hill." As Stefan Olsdal ventured into the crowd, it felt like a unifying moment, dissolving the barriers between the band and their devoted fans. The song’s haunting refrain echoed through the Piece Hall, leaving an indelible mark on everyone present.

Placebo’s performance at the Halifax Piece Hall was more than just a concert; it was an immersive experience that reaffirmed their place as icons of alternative rock. Their ability to evoke profound emotions while delivering a sonically impeccable show is a testament to their enduring talent and artistry. The venue, with its timeless charm, only amplified the magic of the evening, making it a night to remember for all who attended.

special northern guest review by Ashley Armon