Whilst ostensibly still at home in London Placebo
have begun touring their new album Meds -
been out to Bangkok, France and Germany doing little
club gigs as promotion. It’s becoming quite
the norm these days – when a band releases
a new record they embark on a worldwide whirlwind
of promotional shows almost always exclusively for
the record company and media attendees to try and
build some hype towards each new release. It’s
not necessarily something that drummer Steve is comfortable
doing.
“I suppose after ten years people expect more
and more,” he comments. “It’s trying
to please everybody all the time and the small shows
are more about the fan club – they demand a
taste. It is kind of healthy for your fan base, but
it takes a lot out of your schedule.”
It’s funny to think – rock ‘n
roll has evolved so much over the past fifty years
that now everything is geared around timing, be it
right or wrong. “I think in the corporate world
they call it pro bono work,” he says. “People
come down to see the show and the word of mouth sets
up the street vibe really”.
And there was us thinking that a
band like Placebo wouldn’t necessarily need to rely on ‘buzz’ to
generate interest in their latest sonic adventures.
With four previous albums and a singles collection
behind them, you’d think it might be otherwise.
But, then again, since Sleeping With Ghosts appeared,
the androgyny that made the band such a breath of
fresh air in the post-grunge world has been taken
and run with by the likes of the Killers and the
Bravery.
“I think they’re ripping off the Chameleons,
really. Bands like Devo were doing that in the late
`70s – that spiky, straight chord thing. I
preferred it the first time around. But I think it’s
just another generation listening to the older records;
I don’t think we can take any credit for anything
really,” he says modestly.
One thing that Placebo have been
very clear about – right
from their “Nancy Boy” beginnings – is
that they were never interested in playing the games
that are sometimes needed to be played in order to ‘make
it’. They’ve never jumped through any
particular hoop, but instead have consistently delivered
on their albums time-after-time.
“We’ve always been in control of our
music – from our videos to our artwork – and
simply used the record companies to execute the ideas
we’ve had. If you take control creatively you
manage to create your own space and avoid trends.
You end up doing what you want to do and hopefully
try and be unique. It’s a really good place
to be; ten years down the line we’ve got the
freedom to do what we want to do. The first five
years were the initial survival period, but if you
take the bull by the horns and make sure that you’re
in control of everything and ignore the critics then
the fanbase is always there.”
After all, you’re only as good as your last
record. But, one thing Placebo have always been prepared
to do is put their bodies (and minds) on the line
and tour consistently for two year periods after
the release of each album. “It’s proper
old school”, Steve grins.
Meds is one of the most
uncomplicated releases the band have ever come
up with – no
fuss, no muss, just eleven incredibly solid pop nuggets
that don’t mess around. “We wanted to
strip it back down a bit,” he confirms. “But,
generally, you just think about what feels good and
worry about transposing it live later.”
In terms of the actual songwriting
process, Steve confirms that the band are not necessarily
quick
when it comes to laying down new material, but they
are (and here’s that word again) consistent. “It’s
an ongoing process for us,” he says. “Whether
there’s an album coming out or not we’re
always demoing and coming up with ideas and putting
them down, so that they’re ready for when we
do need stuff.”
As such, when it comes time to record,
the band simply gather these ideas together for
the next record.
Of course, this can lead to innate difficulties – for
instance, Placebo struggled with the final running
order for Meds, meaning that first
single “Song to Say Goodbye” ended up
being the final track.
“It was probably the hardest of any,” he
says of all Placebo’s back catalogue. “We’re
good at making records but when it comes to marketing
we just turn around to the record company and say ‘do
your job’. We wanted to know from them which
one was likely to be the best one for the first single,
and from there we said ‘go for it’, and
that was it.”
It’s strange: despite all
the protestations otherwise, Placebo are just like
another band – they
want the fame and fortune, and as such are prepared
to play the game and kowtow to their record company’s
demands. “Normally we fight hand-over-first,” Steve
outlines, “but this time it was ‘sod
it, can’t be arsed’. It was going back-and-forth
all the time, and we ended up releasing two singles – “Because
I Want You” in the UK and “Song to Say
Goodbye” for the rest of the world, because
we knew that “Song to Say Goodbye” wouldn’t
have the same impact in the UK as it would in Europe,
because you need to go in with something a bit more
explosive. It really is just a point of dropping
a bomb, which you’ve really got to do in the
UK music scene, because otherwise it will just go
unnoticed no matter how big the band are. It kinda
worked – it charted, and we did Top
of the Pops, and the album landed at number
three [on the UK charts].”
At this point in time, Placebo are
fairly much at the point where they can control
their own destiny,
and the record company is prepared to trust them
to follow their own lead. It’s resulted in Meds being
one of the quickest albums the band has produced,
and certainly one of the most open – the sound
is much more stripped back than it has been previously,
and it works in the record’s favour.
Placebo’s Meds is out now.
Expect a tour some time in 2006.