Placebo
Meds

THE REVIEW

Brian Molko is the classic example of characters you either love to the point of foaming at the mouth or find as nauseating as parmesan in coffee; you'll hear few people say "Placebo? Yeah, I don't mind them...". The problem lies elsewhere: the flop they've made with this album is quite staggering. It doesn't contain any unlistenable tracks: the issue is that it lacks its own sense. The semi-electronic turn of the previous "Sleeping With Ghosts" was well-received by critics and the audience (selling a few million copies, in fact), at this point the English trio's musical evolution was ripe for completion (see the two excellent new tracks present in the previously released collection): only the Placebo decide to take not just a step back, but a whole stroll of them. And to think that the disc starts off well with the title track, an excellent example of minimalist rock, and, as a side note, the voice of the beautiful and talented Alison Mosshart (half of the Kills). It is followed by "Infra-red", with its excellent melody and arrangement in perfect Placebo style (it's already a classic of Molko and company). Well, you might say? Then come the troubles: "Drag" hints at the more rock production of the trio, but it's so bland as to go unnoticed. "Space Monkey" is the experimental track that the Placebo love to include in every album (for example, "Something Rotten" in the previous one), but it lacks bite and comes across as flat and uninspired. "Follow The Cops Back Home" is pure filler, with its monotonous pace and completely flavorless melody. At least "Post Blue" and "Because I Want You" (especially the latter) stir the waters a bit, but "Blind" (a rockish melody but as obvious as an end-of-season sale) and "Pierrot The Clown" (slow) bring everyone back to earth. The much-anticipated duet with Stipe, "Broken Promise", is considered disappointing by many; instead, it's among the few acceptable moments of the work, especially for the nice big guitars in the chorus and Molko's unique vocals taking the spotlight. His Majesty Michelino from Athens, on the other hand, is missing. Past another filler, the album closes with "In The Cold Light Of Morning", very somber and sung softly by Molko, and the well-known single "Song To Say Goodbye", which comes and goes. What a shame, a missed opportunity.
A work that looks too far back, for a group that's always accustomed us to looking forward. Time will tell if it's a temporary block. Or a definitive paralysis.