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  • 2006 mart 13'unde kavusacagimiz 5. placebo albumu.

    leziz.
  • albüme isminin veren pek şahane şarkının sözleri de şöyledir:

    i was alone, falling free
    trying my best not to forget
    what happened to us
    what happened to me
    what happened as i let it slip

    i was confused by the powers that be
    forgetting names and faces
    passers by were looking at me
    as if they could erase it

    baby, did you forget to take your meds? (alison)
    baby, did you forget to take your meds? (alison)

    i was alone staring over the legde
    trying my best not to forget
    all manner of joy
    all manner of glee
    and our one heroic pledge
    that would matter to us
    that would matter to me
    and the consequences
    i was confused by the birds and the bees
    forgetting if i meant it

    baby, did you forget to take your meds? (alison)
    baby, did you forget to take your meds? (alison)
    baby, did you forget to take your meds? (alison)
    baby, did you forget to take your meds? (alison)

    sex, and drugs, and complications
    and the sex, and the drugs, and the complications (alison and brian)
    and the sex, and the drugs, and the complications (alison and brian)
    and the sex, and the drugs, and the complications (alison and brian)

    baby, did you forget to take your meds?
    baby, did you forget to take your meds?
    baby, did you forget to take your meds?
    baby, did you forget to take your meds?
    baby, did you forget to take your meds?
    baby, did you forget to take your meds?

    i was alone, falling free
    trying my best not to forget
  • sleeping with ghosts'u doşta düşmana kahramanca savunan (gerçi savunulmaya ihtiyacı var mı tartışılır) ve hala da çok seven, başının tacı eden bendenize, evet swg'den daha iyi olmuş, 10 üzerinden 10 dedirten bir albüm bu.

    iki single'ı da *, * pek sevip, bağrıma basmama rağmen, özellikle because i want you'nun albümün en zayıf şarkısı olduğu gerçeğini de yadsıyamıyorum.

    meds'i, 8 senelik bir placebo fanatiği olarak tanımlamam gerekirse, ilk kullanacağım kelime "garip" olurdu. ne debut albüme, ne without you im nothing'e, ne de sleeping with ghosts'a benzeyen, ve sadece (buradan gri balıklar'a saygılar sunarım *) -o da hafifçe - black market music'i biraz andıran bir albüm var karşımızda. (ki black market music de, wyin'den sonra çok garip bulunmuştu vakti zamanında)

    albümü mükemmel düet meds açıyor, hafiften every you every me'yi andıran (daha öncekilere benzemiyor dedikse de, o kadar da değil) başlangıç nağmeleriyle, damardan giriş yapıyor.

    bundan sonra da tempo düşmüyor, gri balıklar beyfendinin 70'lerin rock şarkılarına benzettiği infra red, pek bir hoş, bağıra bağıra eşlik edilmek isteniyor. drag ise genellikle albümün the weakest link'i olarak adlandırılsa da (ki bugün ben de kendisini aynı şekilde tanımladım ama sonra bu kararımı tekrar gözden geçirdim) aslında eli yüzü düzgün bir şarkı, yalnız sanki karanlık albüm atmosferinde pek lay lay lom kalmış. yine de takıntılı sözleriyle insanı bayağı eğlendiriyor.

    albümün -bence- en büyük bombaları ise brian molko'nun albümle ilgili röportajlarda garip bir şarkı diye bahsettiği, bu yüzden direk yeni bir something rotten vakası beklediğimiz, ama hiç umduğumuz gibi çıkmayan space monkey ve blind. ikisini de konserlerde duymayı ısrarla istiyoruz. * *

    brian molko - michael stipe düeti broken promise gayet sakin, aklı başında sayılacak bir piyano melodisi ile başlarken, brian'ın vokalinin girmesiyle, bangır bangır gitarlarla, gayet yırtıcı ve vurucu bir şarkıya dönüşüveriyor. insan birden neye uğradığını şaşırıyor, ay pek cici bir parça derken, şarkı insanı ters köşeye yatırıveriyor.

    balladlar, pierrot the clown ve in the cold light of the morning işlevlerini özenle yerlerine getiriyorlar ve ekrana efkarlı bir şekilde bakıp, "ben bir sigara yakayım", ya da "gidip bir şişe şarap mı açsam?" denilmesini sağlayabiliyorlar.

    geleneksel placebo sound'undan hafif uzaklaşılmış olsa da, özünde yine de bu bir placebo albümü. sakin, dingin ama gerektiğinde yerinden zıplatan, elektro içeren ama gitarların çok da geride kalmadığı bir albüm aynı zamanda. elbette sevmeyeni de olacaktır, ama bence, placebo'ya yakışan bir albüm olmuş bu.
  • omur torpusu, bunalim kaynagi final haftamda an itibariyle dinlemeye gectigim, yuzumde koskocaman bir gulumsemeye vesile olan album. muzikal yorum yapmaya ugrasmak yerine bu tarif edilemez mutlulugumun tadini cikarmaya da karar vermis bulunmaktayim.
    ayrica ozledigim bir grupmus placebo, ve guzel, sicak, samimi lise yillarimi ozleten bir grupmus da ayni zamanda.
    * * *
  • kapağı şu linkte görülebilecek albüm:

    http://www.placeboworld.co.uk/news/index.html
  • mart 2006 da çıkması planlanan ve şimdiden soulseek e düşmüş albüm
    pierrot the clown ne güzel şarkıdır..
  • insani cildirticak guzellikteki placebo albumu...tum album repeat e alıp dinlenmelidir.
  • mark beaumont`'un 2006 ocak ayinda ince eleyip sik dokudugu bir albumdur. soyle ki:

    in the end, all hidden treasures start shining. from our music snob’s bunker in the uk, blinkered by the home and stateside successes of franz ferdinand and the kaiser chiefs, it’s been easy to forget that for the past decade placebo have been slowly building into one of the biggest and best rock bands on the globe. in 2000, while we were all bemoaning the dearth of uk talent, placebo were quietly selling a million copies of their third album ‘black market music’ and hitting number one across europe. in 2003, while we were prostrating ourselves at the feet of the libertines, placebo’s fourth album ‘sleeping with ghosts’ saw them notch up 1.5 million sales, go top ten in twenty countries and play to 18,000 people at the bercy in paris. like other darkly romantic acts that speak directly to the scorched human soul - the cure, depeche mode, morrissey, rem - theirs has been a steady, cultish global explosion on the outskirts of our narrow vision of the zeitgeist. but when brian molko, stefan olsdal and steve hewitt sold out wembley arena in 2004 during a triumphant homecoming jaunt to promote that year’s singles package ‘once more with feeling’, with robert smith as special guest, the lid was blown on rock’s worst kept secret: for ten years placebo had been creeping up on superstardom, now here they were taking their place on the podium. “the size of it has been gradual since the first album,” says stefan, “every album’s done a little better than the previous one, so it wasn’t a big shock. we’ve learnt our trade through the years and the band has grown live as well - last tour there were five people onstage which freed me and brian up to give a little more of a show. we kind of grew into those roles and we felt comfortable with them. but when we came to play wembley last year it was a vindication.”

    what’s truly remarkable about the rise of placebo, however, is that it has always gone hand in hand with a rare hunger for musical inventiveness, personal discovery and storytelling nous. as they’ve gradually shed the androgynous shock-chic of their 1994 genesis for more stark, direct and mature dissections of humanity’s brimstone core - the perversions we hide from each other, the agonies and humiliations we inflict on each other, the addictions we put ourselves through and, on occasion, the hope we too often deny ourselves - they’ve also taken daring steps into fresh musical territory. ‘black market music’ brought hip-hop and disco elements to their brooding rock blueprint. ‘sleeping with ghosts’ saw them experimenting with electronics, loops and studio jiggery-pokery galore. bravely, they challenged their audience, only to earn themselves bigger and more avid devotion from an ever-growing legion of smart but damaged rock fans that were coming to expect and revel in placebo’s unexpected stylistic turns. and fifth studio album ‘med’ looks set to be their biggest and most gasp-worthy plot twist yet.

    written over the summer of 2004 in the south of france, recorded over four months of 2005 in rak studios with relatively unknown french producer dimitri tikovoi and mixed by u2 + smashing pumpkins legend, flood, ‘meds’ is placebo: laid bare. confident that they had written their strongest set of songs to date “we found ourselves in a position when we were making this record of having too many songs,” says brian. “before we were always missing one, so the quality bar has been raised. there’s at least five or six singles on this album”.

    they allowed tikovoi to strip back their intended electronic approach - a direction the band expected to pursue after penning the synth-heavy ‘twenty years’ for the singles collection record - to the base core of guitar, bass and drums in order to let the genius of the song writing speak for itself and rediscover the fire in placebo’s studio-glossed bellies.

    “dimitri’s idea for this record was to get us to make a first album again,” brian explains, “to take us out of our comfort zone, to challenge us and to bring a danger back into placebo. rak is a bit of a time-warp studio, it hasn’t changed that much since the seventies and eighties. so you’re not making a record in a digital space-ship, everything becomes very performance based. so we went back to a very elemental side of placebo. for example, where we’d usually go to an expensive vintage keyboard, we just went to the piano instead. i think over time we’ve developed a reputation for being quite complicated and i think we enjoyed the freedom of going back to basics on this record, we allowed space for the songwriting to shine through rather than show up how clever we were and how good we’ve gotten at using a studio. we were going for simplicity rather than elaboration.”

    the result is not just a molten, souped-up raw roar of a record, but also placebo’s most human collection to date. no longer does molko feel the need to define himself through high fashion or s&m gimmickry - he’s an adult and a finely-honed storyteller now and he needs no knee-jerk lexicon to map out life’s deformities. here are tales of fragile souls freaking out because they’ve forgotten to take their medication (‘meds’), of the blear-eyed shame of the bathroom mirror in a narcotic comedown dawn (‘cold light of morning’), of “your friends who are making extremely bad lifestyle choices” (‘song to say goodbye’). here are stories - subtly unfolded - of loss, confusion, revenge, love, addiction and dependence despite, you might think, the fact that molko should really have gotten over this sort of thing by now.

    “i know,” brian chuckles. “i guess being in a rock band you don’t grow up as quickly as other people no matter what happens in your life, or maybe because you’re so used to conflict and things teetering on the edge of falling apart that sometimes you have to create that around you in order to feel alive. when you listen to the album you find a good deal of confusion and desperation. things are never simple in placeboworld. i think the interesting thing about the people who inhabit the songs on this album is that they’re always going through some kind of conflict, with themselves or in terms of their place in the world or in terms of dependence or addiction.”

    there’s also, somewhat mysteriously, a track called ‘space monkey’, which none of the band can explain but which has left stefan awash with emotional awe. “i listen to it and i don’t hear us playing it or remember recording it,” he says, “it’s like i’m listening to another band and i’m getting very strong emotions while i’m listening to it. it’s the first time i’ve had that with our music.“

    their best (and inevitably most successful) album so far then, and one which gives honourable nods to their inspiration as well as their legacy. an example of the band’s legacy is guest appearance of vv of the kills, who sings on the album’s title track, ‘meds’, and bloc party and ladytron approaching the band to remix the album’s first single, ‘because i want you’.

    so another adventurous lurch into the unknown for a band who call the unknown home - its success is guaranteed by the simple fact of its non-conformity. frankly, with so much global graft behind them, nothing can stop placebo now. this is, after all, the band who turned up in chile last year to fulfil some half-remembered gig promises only to find they’d broken south america without even noticing.
    “the first date we turned up in chile,” brian recalls. “we’d never been there before and we didn’t think we sold many records there and we had two sold-out 9000 capacity shows, so that was an amazing way to start it. then we went down to buenos aries and played to 7000 people and then did eight shows in brazil to a rapturous reception. being that well received really surprised me and that was fantastic. and what a great place to go and do big gigs! it’s a real buzz over there, the audience is so passionate, that’s the latin thing i guess. morrissey’s really huge in mexico and placebo do really well there and in brazil the cure are massive so they’re really into this dark romanticism that we have that sort of connects with them.”

    “it was nice to be able to drop in on a country we’ve never visited before and get the sort of reception we got,” adds steve. “the band performed brilliantly, we’re harder hitting and so much more having-it than the last tours we’ve done. it was up another three pegs on the rock level.”

    and by the end of the forthcoming ‘meds’ world tour, rock will have run out of pegs. placebo have taken the world, now they’re coming for you. be blissfully afraid.
  • oldukca ve fazlasiyla basarili placebo albumu. eksik yok fazla var, 13 sarkinin 11 tanesi 10 uzerinden 9 ya da 10 alir. cok karisik oldu, ozetle leziz.

    edit: teomanin bile basarili bir album piyasaya sundugu su gunlerde placebo meds gibi bir album yapmasaydi zaten ayiplardim.