Posted November 14, 200618 yr In this topic, you can post any reviews you find of this album, you can also submit your own personal reviews and agree or disagree on any of the reviews posted. http://img.photobucket.com/albums/v59/alan_the_evil/Placebo-OMWF.jpg "From the spiky rush of 36 Degrees through to the atmospheric new single, Twenty Years, Placebo have brought sex, glamour and—above all else—some glorious tunes to the world of alternative rock. I don’t care what Brian is like in real life—anyone who can make a guitar sound like it does in Without You I’m Nothing is alright by me. There have plenty more amazing moments over Placebo’s career: the way Brian sings 'Trapped in aaaambuurrr' in Teenage Angst; the galloping drums in Nancy Boy; the pause in Special K before it roars back into life; the whole of The Bitter End and Every You Every Me. People always go on about Placebo’s perviness, and it’s true that these songs ooze sex, throb with lust and provide more thrills than a rampant rabbit vibrator and a year’s supply of batteries. But there’s a vulnerability and tenderness beneath these songs, hints of self-loathing, that give them an emotional depth. It’s not all about hedonism, even if Brian was only ever faithful to his own pleasure zone. Pure Morning is probably their best-known song, the one about friends with weed and girls with breasts and all the rest. On paper, the lyrics are absurd, but somehow the nursery-rhyme rhythms make them seem almost profound. (...) suppose I should talk about those mistakes. You Don’t Care About Us steals from the Cure in the same way the Cure stole from New Order. The version of Without You I’m Nothing is the one with David Bowie mumbling over the top—a pointless collaboration if ever there was one. 'Once More With Feeling' contains the obligatory duff extra track too. Every greatest hits album has to contain one weak new song (it’s practically a law) and Placebo’s is called I Do. It’s been hyped as their first happy song—perhaps they should go back to being miserable." -- Mark Edwards, Stylus Magazine, 11/04
