Placebo

Brian Molko's voice remains one of the most polarizing instruments in modern rock -- you either find that nasal, androgynous whine entrancing, or it sends you in search of some Advil. But Placebo's fifth album, Meds, might finally put him in the same league as such other acquired-taste frontmen as Billy Corgan and The Cure's Robert Smith. Not only is this by far Placebo's most accomplished set of songs, it's also their most radio-friendly -- a rare feat for any band, let alone one that's been around for a decade.

Songs like the serrated title track (a duet with The Kills' Alison Mosshart) and the brooding, faux-industrial "Space Monkey" will be instantly recognizable to fans of Placebo's earlier work, but they're the exceptions in this set. More typical is the lead single "Infra-Red," which just uses touches of the band's goth-meets-glam roots to flesh out what is essentially an arena-ready slab of crunchy-guitar, soaring-chorus power pop. It's also one of at least half a dozen flat-out great songs on Meds, including "Drag," which evokes the Smashing Pumpkins when they were in power-pop mode, and "Broken Promise," a blistering quiet-loud exercise featuring Michael Stipe (who was once an acquired-taste frontman himself, before he graduated to elder statesman status).

What's most exciting about Meds is that, as Placebo's music gets more accessible and less overwrought, Molko's lyrics are actually becoming smarter and more evocative. Even a woe-is-me, lover's quarrel track like "Pierrot the Clown" strikes just the right note of sardonic wit ("See you right back here tomorrow/For the next round/Keep this scene inside your head/As the bruises turn to yellow/The swelling goes down") to undercut its own literary pretensions. At a point in his career when many songwriters start to run out of ideas, Molko seems to be just hitting his stride.

In a way, Meds establishes Placebo as Britain's darker, edgier answer to Death Cab for Cutie -- a band with a quirky, literate frontman and a sound that carries forward the best traditions of the so-called "college rock" sound of the late '80s. They certainly deserve the same amount of attention as Death Cab has gotten, and Meds should be the album that gives it to them. -- Andy Hermann

With 2004's release of Placebo's singles collection, the band reaffirmed that it has never quite fit into any particular fad. Their success has been gradual in the sense that their style and sound have progressed naturally with each album. Meds builds upon that notion while also embarking on a new phase for Placebo. Meds is their second coming. Frontman Brian Molko is no longer the glam-chic, gender-bending firestarter he once was. His songs are still angry and twisted in self-reflection and social rejection. Meds doesn't contain the rush to experiment like their previous records do. It's as bare and honest as Placebo have ever been, thanks to French producer Dimitri Tikovoi's straightforward approach in getting the band to make a bona fide rock record. There's a fresh vulnerability here and a sense of danger, too; the album's title track quickly enters this sphere. It's an obsessive moment confronting the social hypnosis and dependence of medication. The Kills' Alison Mosshart lends an anxious vocal backdrop as Placebo deliver an aggressive guitar-driven assault. Meds doesn't stop for breath until its end. Fans should be pleased with the menacing "Infra-Red" and the sexy ensnaring of "One of a Kind," two tracks that showcase Placebo's signature fiery performance style. When they're not deconstructing social expectations, Placebo's storytelling is equally powerful on the more lilting tracks. The shifty slow burn of "Space Monkey" is an epic ballad for the band. Placebo step out of their skin here. A squall of fuzzed guitars, strings, and Molko's brooding vocals strike to knock down the celebrity pedestal that creates a false human image. "Broken Promise," a duet with Michael Stipe, takes similar shape as a dramatic tale of adultery unfolds into a dark, emotional storm. Letting go of toxic relationships on "Song to Say Goodbye," a melancholic closing to Meds, brings the album full circle. To some, Meds might come off as less interesting compared to the slickness of older tracks such as "Taste in Men" and "Every You Every Me." Some may be over Molko's constant analysis of sex, drugs, and desire. What you see is what you get with Placebo and, for the first time in a long time, that vision is clear. [The U.S. limited edition release includes a bonus DVD. Additional features include four previously unreleased audio tracks, their Wembley performance of "Twenty Years," a duet with the Cure on "If Only Tonight We Could Sleep" as well as bonus material from backstage at Live 8 and special studio footage.] ~ MacKenzie Wilson, All Music Guide