Album Review: RE:CREATED By Placebo
Album artwork for RE:CREATED by Placebo
Placebo’s inception in the Britpop era of the mid 90s was surreal if anything. Bands like Oasis and Blur churning out lad culture anthems that still have skin fades in bucket hats howling to this day after a couple pints. Placebo were the antithesis of this cultural moment as they preferred to embrace the new wave and post-punk sound laced in androgyny for the weirdos that echoed what Korn accomplished in the US with their own brand of music for outcasts.
Placebo’s “RE:CREATED” has been colourfully described as a “reimagining” and a “reboot” of what they created 30 years ago and that’s a disservice to what it really is. “RE:CREATED” focuses on a body of work that survived 90s Britpop and 2000s indie which gives us the opportunity to relive that lustful, glam punk style that borrowed heavily from the likes of David Bowie through today’s lens. A lot has happened in the UK over the past 30 years from the conservatives spear-heading austerity across the nation, the mess that was Brexit and KSI making it onto the panel of Britain’s Got Talent. RE:CREATED poses a question that can only arise in these circumstances. Amongst the previously mentioned harrowing events, how do Placebo translate their 30 year old self-titled in today’s world?
Incubus did the same. 2 years ago they released a re-recording of Morning View and it was met with unbridled scrutiny and viewed as a feeble attempt to get the bag, however more and more bands are making a bigger and bigger deal of anniversaries. Before it used to be deluxe editions with an extra track that was only featured on the Japanese release but now it’s fully fledged re- recordings of iconic albums that, for better or worse, usually end up buried under the weight of the bands discography. Placebo’s approach to the cycle of anniversary monotony feels more personal and sharper, they have to thank their 30 years of touring and writing in not necessarily finishing these tracks, but refining them without rewriting and bastardising them for the sake of social media algorithms and relevancy.
Deep dives into each track doesn’t feel like the right way to approach this album. The 1996 self- titled was released during a period where ultra-curated Spotify playlists that cherry picked the songs you would typically only hear 30 second snippets from on social media platforms didn’t exist. You’d have been flipping through the rock section at HMV and taking your CD of choice home before putting it in your Walkman to listen to on your way to and from school. Listening to an album in full back then was the norm, but to listen to a piece of music from then in the somewhat re-sculpted environment of 2026 is where “RE:CREATED” suffers. It’s worth noting even with the number of decades that have passed, viewing the androgyny through today’s lens isn’t as different as it was back then. Androgyny is more present in today’s society, sure, and the LGBT+ community is more vocal with the aid of digital platforms, those associated with androgyny who didn’t confirm to heterosexual norms i.e. the gay community was villainised back in the 90s, and now the trans community is villianised today. That element of Placebo’s appeal to outsiders and to those that feel they don’t fit alongside the fear of existing and being yourself following behind, the only change from 1996 and 2026 when putting this album under a microscope where androgyny acts as a central theme is a different minority group is facing the same issues. 30 years on and the same theme still holds as much relevancy as ever.
Vocalist Brian Molko’s signature register that made him stand out all of those years ago where singers in the Britpop sphere rarely sang above the range of the average football fan chanting on the way to the match, Brian’s vocals differ from how he sounded in 1996 in that his presence feels more prominent and assertive. There’s less melancholy and sourness in his delivery and has been replaced by the confidence that has been built over the years in fronting the band. Losing one key factor of what made his voice so unique in the first place isn’t a loss as much as it is a natural progression that works in this scenario.
You’d be under the impression that re-recordings result in a higher fidelity, more sterile production value but the band themselves chose to produce and mix the record, favouring the grit and rawness you don’t see in anniversary records. There’s many records out there being pushed to have modern production value which translates to ultra-clean, overly processed and to appeal to as many listeners as possible. Regardless if they chose to put the record down after a short period of time, a sale is a sale but this is where Placebo have made the artistic decision to preserve what made their self-titled special in the first place. By keeping a similar yet more modern spin on production, they’ve managed to strike a delicate balance between pulling the record into the modern age whilst not sacrificing the obscure factor that made them who they are.
It’s hard to write about songs that have existed for 30 years. Songs that fans are already familiar with and as mentioned despite the quality of these tracks, the restrain the band took in not rewriting anything or changing anything to suit trends besides sharpening up the production has played a huge part in making this album sound as great as it does but, it’s an album that is unfortunately a victim of it’s time. Ground-breaking 30 years ago only destined to not receive the love it deserves today. The inclusion of Drowning by Numbers and H.K Farewell at the end of the track list flesh out the album further and make it feel more robust especially with H.K. Farewell being such a beautifully written instrumental piece but again, it’s a victim of it’s time and will likely be viewed more as a novelty amidst their discography as opposed to being a fans new favourite Placebo record.
FFO: Reuben, Muse, The Smashing Pumpkins
SCORE: 6/10
“RE:CREATED” is out on all streaming platforms on Friday 19th June via Elevator Lady Ltd through AWAL.
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