#brian molko moment | Explore Tumblr Posts and Blogs

withoutyouimsaskia · 11 months

Text

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 released 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 ❤️

#placebo #placebo band #stefan olsdal #brian molko #favourite band #music #gush post #never let me go

23 notes · View notes

allfillernothriller · 20 days

Text

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.]

youtube

The atmosphere was incredible. There was a respectful vibe in the audience that made me feel safe. I actually partook in a pogo 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

#yard act #dream job tour #murkage dave #where's my utopia?#cabaret sauvage #I loved it so much I'm already plotting to try and catch them in brussels on the 28th #as edmund blackadder would put it: I need a cunning plan

4 notes · View notes

guitarnacle · 7 months

Text

#brian molko #placebo #bruise pristine totp performance #bruise pristine #brian molko moment everyone

33 notes · View notes

nocompromise-noregrets · 11 months

Text

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...

#five good things

15 notes · View notes

pikslasrce · 1 year

Text

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

#why did i dream that i was bonding over animal conservationism with brian molko hes a musician and im a lit student #what in the world would need to happen for us to start a phone correspondence over a unique domestic cat species.. and frogs #i felt so silly the moment i woke up #piksla.txt

1 note · View note

monstersinthecosmos · 2 years

Text

VAMPTEMBER DAY 1: DEVIL'S IN THE DETAILS

One of my favorite things to do, like one of my small pleasures in life, is to pair music with books so that like, I can listen to an album (or song or playlist or whatever works) while I read a book because I know that my brain will form vivid memories and then every time I hear those songs for the rest of my life I can have like this fun moment of remembering a story or a character or a scene or whatever. And it’s become this ritualistic thing I do to try on different albums with a book to find the best fit, and then I’m making an intentional commitment to that album for the rest of my life.

Since today’s prompt is “Devil’s in the Details” it reminded me of how I listened to the album Battle for the Sun by Placebo on loop last time I reread The Tale of the Body Thief so I want to share how some of the songs connect with the book because it’s left a lasting impression on me!!! I recall making a playlist of like the gloomier half of the album that felt more thematically appropriate. =P

Just as a CW I wanna mention that there's a lot of suicide on this album just like there is in the book, please proceed with caution!

Battle for the Sun

Like obviously “battle for the SUN” herp derp feels like a vampire reference LOL but I think it also sets the scene for this book in particular which is about Lestat trying to see the sun again. But the album in general has a lot of messaging about suicide and survival. A lot of the songs (including this one) also talk about being alienated or facing adversity, as well, like not just the idea of survival but having to do it alone.

So it just feels like, even LITERALLY this song feels like it’s about Lestat’s suicide attempt and setting the scene for him to do this ridiculous stunt that NO ONE is supporting him on lol.

I will battle for the sun And I won't stop until I'm done You are getting in the way And I have nothing left to say I will brush off all the dirt And I will pretend it didn't hurt You are a black and heavy weight And I will not participate Dream brother, my killer, my lover

(also as a bonus, calling someone brother/killer/lover is SO Ricey lol and I love it bc it shows up on other Placebo albums as the concept of someone being EVERYTHING to you!)

For What It’s Worth

This one is so funny because it’s like perfect for Lestat in that it’s kinda bitchy/cynical and also so catchy and fun? LOL But it’s about someone just at the end of their rope, burnt out from helping everyone else when on one wants to help THEM.

It’s funny in that Lestat context because like, I think he’s a character that struggles with his own self worth. Like he sits down at book writing time and he’s able to hype himself up and everything but we also see him go through these dark times and depressive episodes as well. TOBT is a great example because he starts the book with a suicide attempt and then he’s on this high to like DO A COOL ADVENTURE and literally NO ONE is supporting him.

And like the extra layer is I think, despite struggling with his self worth, it’s like he has this split thinking where he has to contend with his own ego. He is sensitive to rejection and at the same time has an inflated sense of self. The concept of helping everyone else or the idea that being part of their lives makes them happier is such a funny idea because he exists like on his own island where no one else agrees with him or sees it the way he does. But it means he can mistreat people all he wants, without realizing it, and doesn’t take accountability for it until he realizes no one has his back anymore.

The end of the century I said my goodbyes For what it's worth, I always aim to please But I nearly died For what it's worth Come on, lay with me 'Cause I'm on fire For what it's worth, I'd tear the sun in three To light up your eyes

And also this part of the song is so funny to me like I FEEL BRIAN MOLKO IS PERHAPS MORE SINCERE AND I’M NOT LAUGHING AT HIM but in vampire land it feels fitting to pair these extremely dramatic words with the song POPPING.

No one cares when you're out on the street Picking up the pieces to make ends meet No one cares when you're down in the gutter Got no friends, got no lover

Devil in the Details

I love this song so much AND IT’S THE PROMPT TODAY and it’s just so beautiful and really hits that PLACEBO THING, you know the thing I mean like you can enjoy Placebo all day and then certain songs they just really hit their stride and it’s so good.

All of my wrongs No more wicked ways Come back to haunt me, come what may He wrote the songs That I hoped to write someday Looks like the devil's here to stay Let me take you for a ride With the devil in the details We'll kiss and tremble with the light Everything is fine With the devil in the details We're gonna dance with him tonight

Just off the repetition of “looks like the devil’s here to stay” makes me so emotional LOL.

ANYWAY so this concept really resonates with me for this book because Lestat’s entire story here is that we open with Lestat trying to kill himself, then has this chance to be human again, then realizes he’s still a monster even when he’s human. And the thing is like, he gets his body back, wins the game, it’s back to normal, and instead of changing his ways he doubles down and decides to continues to be evil. THE DEVIL’S HERE TO STAY, GUYS.

I love this in line with like the entire reason I find villains to be compelling; we create a super hyperbolic situation to play with the idea of love and forgiveness and identity– in this situation it’s also an act of SELF LOVE for Lestat. Like the idea of him embracing himself as a flawed, sometimes evil, person is an act of unconditional self acceptance and I love that!!!!

The Never‐Ending Why

Sdhjgkffffffff the entire concept of this song is the contradiction that time heals and yet there’s not ENOUGH time to answer all the questions we have about the unknowable.

I bring this up a lot when I talk about VC because I think about how we have to reframe the vampires’ psychology as immortals and what it means for things like forgiveness. Like some of these characters have done truly atrocious things to each other and IRL if someone did something like this it’s just OKAY, BANISHED IMMEDIATELY GOODBYE because we do not have the TIME to get through such a serious emotional wound. Vampires have nothing BUT time.

But I love it in regards to the suicide theme on the album of like, the acceptance that you don’t have enough time anyway, being okay with that. It’s something the vampires all struggle with. Being immortal seems to make them even more afraid of death.

Julien

This is one of my fav songs on the album, I lose my mind every time I hear it. ALSO REMEMBER WHEN LESTAT MET JULIEN MAYFAIR AND YOU’D THINK THEY’D BE SO COMPATIBLE WITH EACH OTHER BUT THEY WERE JUST CATTY BITCHES THE WHOLE TIME LOL

Placebo had said this song is named after Julian from Less Than Zero (lol) and the song is about slowly killing yourself with drugs; references to “Julien” I think you could swap out for “cocaine” or whatever you want.

Anyway since I’m still talking about Lestat it really can fit so much of his bullshit haha like he’s a person who never has enough and often behaves selfishly because of it. Like in this book he winds up isolating himself from everyone bc they go LESTAT NO and he’s like LESTAT YES! And it’s not just them like denying him having this beautiful experience, like there’s a very real danger to having his POWERFUL BODY on the loose.

Fallen angels in the night And everyone is barred from Heaven Just one more hit to make it right But every one turns into seven Now that it's snowing in your brain Another ten will not placate you This ain't no killer for the pain This avalanche will suffocate you

You can run but you can't hide Because no one here gets out alive Find a friend in whom you can rely Julien, you're being taken for a ride You can run but you can't hide Because no one here gets out alive Find a friend in whom you can confide Julien, you're a slow motion suicide

I like the image of “slow motion suicide” too again in reference to a vampire’s relationship with time. It feels like it loses meaning for them, or can feel relative. And it’s sad because like whatever context you hear in a song like this it’s still about all the small ways we hurt ourselves and how it adds up. Like Lestat is a person who desperately needs companionship and wants to be loved and he constantly makes it harder for people to love him lol.

Breathe Underwater

This! Song! Is! So! Good!

It brings us back to a theme of survival after all the other stuff we just went through on this album haha.

It's hard to reconcile What I've become With the wounded child Hiding deep inside

(This part always makes me think of Armand bc lol but anyway)

So back to that thing about how Lestat becomes human only to learn he’s still a monster lol. I FEEL LIKE, AND DON’T LET ME GO DOWN A RABBIT HOLE NOW, but like there’s a therapy thing about reparenting or protecting the wounded inner child, and learning to reframe your instincts as an adult who is not a wounded child. And it’s that old saying hurt people hurt people; sometimes we become a version of ourselves that we really dislike because we’re reacting to our trauma way past the threat of danger.

And there’s a conflicting message in this song about like, breathing underwater (maybe the method to kill yourself) but then also saying “I’m coming up for air, I want to see another dawn.” It’s like he’s finally sick of it and got the survival instinct at the last moment.

Take my ego for a ride 'Cause there's nobody by my side It's getting hard to justify And it won't be long till I collide My weakness is laid bare As people stop and stare But it's the last time I swear

But to bring it back up one more time; the whole arc of this book is how he becomes human selfishly, risks his relationships for it, puts people in danger, and the whole time he's nearly dying and trying to reconcile with the idea of what he did to Claudia, only to come to the conclusion he'd do it again. It reads like the song; I can't take this anymore, I must drown myself, but I want to live. Lestat gets to the bottom in this book and really faces his mortality, comes up for air, and does it again.

Whew.

SO ANYWAY I DONT HAVE A GRACEFUL EXIT FOR ALL OF THIS just wanna repeat that I really love these songs and they remind me of Lestat LOL and the back and forth of despair to optimism/survival sounds so much like him! HE’S SO MOODY OKAY?

#vamptember #vampire chronicles #lestat de lioncourt #placebo #tale of the body thief

32 notes · View notes

mordopolus · 4 months

Text

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.

1 note · View note