Since the band's 1996 self-titled debut,
Placebo has penchant for delivering spiky, stylishly slick
pop songs, in particular
"Nancy Boy" and
"Pure Morning." Brian Molko's femme-like vocals and androgynous appearance is matched with
Stefan Olsdal and
Steve Hewitt's solid
glam-inspired instrumentation, giving
Placebo a spot of its own in the typically cheeky
Brit-pop scene. Fourth album
Sleeping with Ghosts works with the band's
post-grunge/
experimental desire to keep things campy and emotionally intact; however,
Placebo's a bit reserved this time around. While
Without You I'm Nothing boasted a
glam rock edge and
Black Market Music captured more of a
punk-
glam polish,
Sleeping With Ghosts crawls with mopish, gnarled
ballads.
"Bulletproof Cupid" is a vibrant album opener with classic guitar snarling, but the album's intensity quickly drops when
"English Summer Rain"'s flimsy
electronic bits lose step with
Molko's dismal interpretation of nature. The electric riffs of
"The Bitter End" stick with
Placebo's frenzied
rock style, and
"Plasticine" and
"Second Sight" are equally cool dark
pop, but stand in contrast to the bigger standouts of
"Taste in Men" from
Black Market Music and
"Every You Every Me" from
Without You I'm Nothing.
Placebo has an undeniable swagger, and any attempt to tame its overconfident character simply doesn't work. The whiny, synth-driven
"Protect Me from What I Want" is a perfect example;
Molko's sharp wit is much too literal in criticizing social conformity, typically mocking and self-deprecating as in the song
"Special Needs." Sleeping with Ghosts doesn't venture out lyrically or sonically, but that's not to say it's a bad album. The members of
Placebo, now in their early thirties, move beyond the spit and scowl of their previous albums, and new fans will find
Sleeping with Ghosts to be a good record. Old fans, though, might think the band wimped out while growing up. ~ MacKenzie Wilson
