Muse - Black Holes & Revelations
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Free Music Notes for Black Holes & Revelations
Free Music Review: Britain's finest power-trio explores new sounds!
Hit: 5 Stars
After almost 3 years absence (well - less if you count in the long Absolution-tour), Muse are finally back with their eagerly anticipated fourth studio album, titled 'Black Holes & Revelations'. Let's just make it clear from the start: the album is phenomenal! Muse have on this record made some slight departures from their trademark sound, while still utilizing their strengths and thereby still sounding like Muse. The new influences seem to come from the dance-influenced rock music of Franz Ferdinand and their contemporaries. Also, several of the tracks contain some southern, flamenco-like guitars, possibly explained with Matthew Bellamy's new residence in Italy. On the lyrics front, Matthew also have incorporated new ideas. Whereas his old lyrics were hysterical, paranoid and apocalyptic, his new lyrics are hysterical, paranoid and apocalyptic - but now, the politicians and leader's of the (western) world are now to blame. This newfound political angle goes hand in hand with some of the most direct love-songs ever penned by Muse.
List of tracks:
1. Take a Bow:
The album kicks off with this synth-laden track. Galloping arpeggio-synths race along Matthew Bellamy's falsetto, as the song slowly builds to a heavily rocking chaos of synths and guitars. Not a fantastic opener, but it really grabs your attention.
2. Starlight:
The follow-up, Starlight, starts with a massively distorted bass-line, and when the rest of the instruments and vocals kick in, it is clear that this is the first bonafide pop song by Muse. A potentially huge single, it's a lovely loveable love song.
3. Supermassive Black Hole:
The advance-single everyone knows. This song really seems to have split the Muse fan masses in two: some love it, others hate it. I was a bit skeptical at first, but now I love it. It's a funky dance track with that Muse twist - really great way to explore new grounds!
4. Map of the Problematique:
A really dark track, featuring some very bleak lyrics (Matt's visions of the future?). The haunting melodies and the hard-hitting drums support each other very well. One of the best songs on the album.
5. Soldier's Poem:
Muse really slow the engine down for the first and only time on this brief track. Once again, Muse have experimented with new sounds. Amidst all the crazy, rocking riff-o-rama of the record, this track is a mellow delight of gentle acoustic guitars, really beautiful vocal harmonies by Matt. Sounds almost like some waltzing pop hit from the 50's or 60's.
6. Invincible:
An organ and marching drums begin the 6th track, titled 'Invincible'. The lyrics probably refer to a lover, while having political undertones ("Together we're invincible"). The track builds and builds and we even get a classic Matt guitar solo with the usual tapping and whammy-effects. Beautiful track!
7. Assassin:
The most hard-hitting and hard-rocking track of the album! Muse really pulls all the stops on 'Assassin', and especially drummer Dominic Howard impresses with some totally insane drumming, reaching almost metal-like intensity. A catchy chorus makes for another brilliant track.
8. Exo-Politics:
A solid, mid-tempo rocking song, with lyrics dealing with conspiracy-theories involving aliens and government secrets. Really catchy chorus and another obvious single-choice.
9. City of Delusion:
'City of Delusion' is the beginning of the album's last chapter, as it is linked with the last 2 songs through flamenco-like guitar instrumentations. This song has a really great vibe to it, with a lot of epic bombast including big string- and horn sections. Simply beautiful.
10. Hoodoo:
Opening with a lonely, reverb-laden guitar, this song initially sounds like the soundtrack of a Western B-movie. However, it builds into a piano-driven rock song, before finally settling with the lonely guitar and Matt's disillusioned lyrics of personal failure. Tragically romantic and a great way to build up to the crushing album-climax: Knights of Cydonia.
11. Knights of Cydonia:
So we're at the end of the album. But what an end this is! Starting off with an alien hover-like sound, laser beams, and horses galloping, you know that you're in for a special ride. In a wave of guitars, howling Matts and other great things, the beat comes crashing in, and drags you along. It sounds like a western-movie in space, with Muse being the musical soundtrack of the ride. Needless to say, this is a totally breathtaking track! At some point halfway during the song, it shifts sound and mood, and the last minutes are from then on dominated by heavy Muse-riffing and theatrical, almost Queen-like vocal harmonies. Once it is all over, you realize the album could not have ended in any better way.
As the track by track list indicates, I am very impressed by 'Black Holes & Revelations'. For all the nay-say'ers who blame Muse for being "Sellouts!", "Too poppy!", while they cry for Origin of Symmetry 2, I can only say: give Muse a break! It's only good and healthy that the band expand their sound instead of sticking to a tired formula, and this is possibly the best way they could ever achieve that progress. So get the album - my guess is that you won't find a better rock record in 2006. Oh, and if you get the chance - go see them live. Muse has rightfully been heralded as one of the best live acts in the world. Their live-shows are totally mind-blowing - an experience you'll remember for life!
Free Music Review: Soundtrack for the Apocalypse...
Hit: 5 Stars
As a Muse fan who only first heard of them after Absolution, for Black Holes and Revelations, I was anticipating the release of a new Muse CD for the first time. I had NO idea what to expect, I love everything Muse has ever done. Showbiz, Origin Of Symmetry, Hullabaloo and Absolution are all amazing, jaw dropping albums and I've listened to them obsessively for a year. Anyways, on with the review of BH&R.
1) Take a Bow- An amazing song, opening with soaring synth arpeggios accompanied by beautiful strings, but it soon bursts into a techno/apocalyptic monstrosity of a song. This is Muse's most openly political song. The lyrics are as powerful as anything Matt Bellamy has ever written. Great song, and an amazing way to kick off the album.
2) Starlight- An obvious single. Catchy bass line by Chris Wolstenholme and memorable drumming by Dominic Howard, who has MANY shining moments on this album. Fun, catchy, beautiful song, and Matt really seems to pour his heart out on this song. Will be a hit single.
3) SuperMassive Black Hole- Great song, interesting choice for first single in the UK. Fuzzy Marilyn Manson-esque guitar riff, along with awesome falsetto and throw in a crazy dance rythym, and you have a big hit. Maybe the first prog rock/dance song ever written???
4) Map of the Problematique- One of the best songs on the album. Should be a big single. Great guitar work with a driving rythym section and awesome, yet simple piano thrown in the background. This is the song Depeche Mode WISH they would have written. Beautiful, very powerful song.
5) Starlight- The tenderest, prettiest, and unfortunately the shortest song on the album, clocking in at barely over 2 minutes. This is a hate-it or love-it track. I love it. Possibly the softest song Muse have ever written. The vocals near the end of the song sound like Matt Bellamy meets a Beach Boys ballad meets Queen. A truly memorable track.
6) Invincible- Good, uplifting song. Starts off with marching drum beat and guitar slides. Pretty song, with a powerful chorus. The bass breakdown is memorable and serves as a great buildup to a truly magnificent tapping guitar solo by Matt. Wonderful song.
7) Assassins- This is Muse at their heaviest. Matt's playing a System of a Down type riff, Chris is holding down the bottom, and Dom is playing the fastest, craziest drum fills imaginable. All in all, this is a great rock song with a huge chorus and very political, and yet powerful lyrics.
8) Exo-Politics- The only straight forward rock song on the album. Simple drum intro leads into an awesome, catchy guitar riff with Matt's as ever perfect vocals. Throw in some super fuzzed bass and you've got an awesome song. Some of Matt's most interesting and paranoid lyrics come as he wonders aloud "When the Zetas fill the skies, will our leaders tell us why?". It's not often you hear a song about alien invasion, leave it to Muse to make the most bombastic songs fit perfectly into the middle of an album... then again, seeing as how everything they do is epic bombast, this should be no surprise. :)
9) City of Delusion- This song has been a fan favorite. Begins with acoustic, Spanish-influenced guitar work and it blows up into a huge, epic, amazing song. This is an incredible track and it doesn't sound like anything they've ever written, with great bass-lines, strings, and a trumpet solo!!! Not to mention, the chorus features Matt singing as emotionally and powerfully as I've ever heard him.
10)Hoodoo- Another Spanish guitar style song. Truly a dramatic, powerful track. Features a dramatic piano breakdown in the middle. Finishes with some of Matt's best lyrics... "I've had recurring nightmares, that I was loved for who I am... and missed the opportunity to be a better man."
11) Knights of Cydonia- In my mind, undeniably the best song on the album. This is Muse at their finest. Knights ranks right up there with Citizen Erased, Hysteria, Plug In Baby, and Muscle Museum as one of Muse's greatest accomplishments. Fantastic galloping drum beat... fuzzy, tremolo picked guitar line... Matt's amazing voice... a Queen-esque chorus featuring the lyrics "NO ONE'S GONNA TAKE ME ALIVE, THE TIME HAS COME TO MAKE THINGS RIGHT. YOU AND I MUST FIGHT FOR OUR RIGHTS, YOU AND I MUST FIGHT TO SURVIVE!!!". What else could you ask for? The perfect ending to one of the best albums I've ever heard.
All in all, this MAY be the best work Muse has ever done. I love every song, and I hope this is the album that truly helps them become the biggest band in the world, as I know they have the potential to do.
Free Music Review: The latest incarnation of Muse finds them at the height of their career
Hit: 5 Stars
It astounds me how much growth Muse has undergone since their humble inception in 1999. Their debut album, "Showbiz," was not as polished as their later recordings would become, but it showed what they were capable of, and showed that they had something unique to bring to a long-stagnant music industry. Since then, the band has gotten progressively better with each subsequent release. "Origin of Symmetry" finally got them some of the recognition they deserved, and 2003's "Absolution" managed to launch them into the worldwide spotlight.
Three years later, their highly-anticipated "Black Holes and Revelations" has finally arrived, and may very well be their crowning achievement.
The album showcases a band that has continually improved and reinvented themselves over their fruitful career, and a singer that has come into his own. The band's philosophies are still as diverse and mysterious as they have ever been, but the band seems so much more confident, more polished, and more sure of themselves than they have ever been. Put simply, "Black Holes and Revelations" is Muse's finest work yet.
The opening track, "Take a Bow," functions more like an introduction than it does a stand-alone song. It speaks of an awakening to the corruption of the world around us. It is an enjoyable track, which carries a certain similarity to "Origin of Symmetry." But as delightful as it is, it's only a taste of what is to come.
"Supermassive Black Hole" is the first single from the new album and was wisely chosen, in my humble opinion. Thought it frightened some veteran Muse fans with its unsettling dance-like beats, it proved that Muse is not afraid to try something new. Not only that, but it can pull off yet another reincarnation of the band with grace and style not typical of most modern bands.
Following "Supermassive Black Hole" is the fantastic "Map of the Problematique," which would also make another worthy single. It features expert percussion and guitar work, as well as some of the finest vocals that Matthew Bellamy has ever served up. I am prepared to call it the very greatest Muse song ever.
Other stand-out tracks include "Assassin," "Exo-Politics," "City of Delusion," and the fantastic closer "Knights of Cydonia." "Assassin" is one of the heaviest songs on the album, and its paranoid rambling complements the atmosphere of the album quite flawlessly. "Exo-Politics" and "City of Delusion" are two other tracks which speak of rising up against tyranny and "Demonocracy."
"Knights of Cydonia," besides having one of the coolest song titles ever, is another exceptional track. It combines unearthly sound-effects with a theme that would fit in with any Western movie. It is a thoroughly enjoyable song, and one that makes quite an excellent closing track.
The only real complaint that long-time Muse fans may have is the glaring absence of Matthew Bellamy's insanely talented piano work. The long piano ballads that permeated "Absolution" are largely absent on "Black Holes and Revelations," except for the song "Hoodoo." Bellamy's impressive piano solos were part of what made Muse so unique and appealing while they were "growing up." "Black Holes and Revelations" is surely the band's most mature album, but I hope they have not chosen to shed the piano for good. Still, the band's undeniable prowess with their other chosen instruments makes up for the lack of piano.
Muse's latest is what fans and critics alike have hungered for. Throughout the years, Muse has tried to prove to the world that they are world-class musicians. Some of us have never doubted this fact, but their latest album may yet convince the skeptical. I give Muse's "Black Holes and Revelations" a prefect score because the band has crafted a musically diverse and glorious gem of an album. Musically and lyrically, this is Muse doing what they do best, the best they have ever done it.
Free Music Review: Best Album of 2006
Hit: 5 Stars
2006 was a good year for me when it came to music; alot of my favorite bands at the time were coming out with great albums. But the best one came from a band that was not one of my favorite bands at the time; and that album was Black Holes and Revelations by Muse. At this time, I was just a casual fan of the singles, but after eventually hearing this album, I am a devout fan (in fact, Muse are now my second favorite band).
1.Take a Bow
An intro that sounds a bit like something out of Origin of Symmetry, and I think it's just as compelling as some of the highlight tracks of that album (New Born, Bliss, etc.). Quite an epic intro, and much darker and more mysterious than most of the rest of the album.
4.5/5
2.Starlight
Here's a nice little turn; this is of course one of my favorite songs on the album. The poppiness doesn't bug me at all, and this is just a very enjoyable song.
5/5
3.Supermassive Black Hole
If this song doesn't convince you that Muse is not binded by any genre, then no Muse song will. This is an odd turn, but that odd turn made into a great song.
5/5
4.Map of the Problematique
This song is simply amazing. Besides track 11, this is definitely the most epic song on the album, and boy does it deserve that title. It's like 2001: A Space Odyssey in song form. Its just far too great to describe. Probably my favorite song on the album, and it might be my favorite Muse song. I'd like to give it more than 5 stars.
5.5/5
5.Soldier's Poem
Now we're given some significant room to breathe. This is a light, quiet song, which is a definite change from the previous songs. This is pretty nice, nothing that will amaze you like the previous song, but it's a nice song to listen to when you want to relax. Also, let me point out that Matt doesn't use that much falsetto on this album; basically this song and Supermassive Black Hole are where most of the falsetto on this album is.
4/5
6.Invincible
Another ballad, but a better and more engaging ballad, I think, than Soldier's Poem. Very good song. It almost makes 5 star status, but it's not quite there.
4.5/5
7.Assassin
Definitely the loudest, most unchained song on the album. Sounds almost like something off Absolution, but it fits here nicely. Some moments of this song, I have to say, achieve greatness.
4.5/5
8.Exo-Politics
Here we might find one of the more "catchy" guitar riffs of the album. Well, no problem with that, because it's a great riff in a great song. Does it bump the insanely-creative factor as much the first 4 or so songs? No, but it's still great fun to listen to.
5/5
9.City of Delusion
Ah, here's a wonderfully epic and complex song. The string and horn instrumentals are just far too good to resist; it's just a really, really great song.
5/5
10.Hoodoo
This is the best ballad on the album. The instant tempo changes in the beginning and piano interlude here are just genius. I love it.
5/5
11.Knights of Cydonia
Now we reach the infamous Knights of Cydonia. This is bar none an amazing song. It's arguably the band's most notable, and for good reason. The epic-notch of this song is turned up to 11, and I dare you to resist its power. It's quite amazing stuff.
5/5
12.Glorious
A lot of people won't be hearing this song, since it unfortunately does not come on the U.S. release of the album; sad but true, because this would've made an excellent close for the album. As a previous reviewer noted, it's like a Glorious celebration after the final battle of the Knights of Cydonia. Try to find this song any way possible.
5/5
So far, this is my favorite Muse CD. If you don't have it, and you love music, then by all means necessary, get it, cause you won't regret it.
Free Music Review: From the Depths of Space...
Hit: 5 Stars
I've listened to Muse's new album, Black Holes and Revelations, their 4th studio effort, several times (so have the neighbors). I still find myself at a loss to describe it. Over the previous three albums, Muse has established themselves as a band that fits comfortable in the niche of straight ahead modern Brit rock, similar to bands like Blur and Oasis, though with a slightly more electronic feel and better musicianship. Matthew Bellamy's voice, upon first listen, immediately evoked Thom Yorke, and though they are nowhere near as esoteric as Radiohead, the comparisons were inevitable.
Black Holes is different, but the same. If there is such a thing as galactic space rock, Muse has achieved their apotheosis in the genre. It's tempting to think that this swirly maelstrom of symphonic genius is a radical departure, but the musical underpinnings for Black Holes were carefully laid in all of Muse's previous work, particularly in the operatic musings of Origin of Symmetry. The opening track, "Take a Bow", builds layer upon layer of tension by raising pitch, volume, and intensity throughout the song until it achieves liftoff with Bellamy screaming "you'll burn in hell for your sins" against a backdrop of tympanic drums and swirling static. This is followed by "Starlight" a bouncy love song awash with pretty keyboard flourishes, fuzzy guitar, and electronic sprinkalia: the soundtrack to a space dance. Many of the songs on the album are dance hall material. This is definitely a rock album, but there's no way you can listen to it sitting still. "Map of the Problematique" and "Assassin" feature a heavy drumline enough psychotic bass that even Dick Cheney would pogo to them. That sound you hear is sweat hitting the floor. And that's not all, "City of Delusion" features a soulful, Mexican sounding trumpet solo, and the strings and pounding piano of "Hoodoo" are bracketed by breathy flamenco guitar.
This album is also, by far, Muse's most political album. "Take a Bow" is a scathing critique of the "Bush/Blair" fiasco, "Corrupt, you corrupt & bring corruption to all that you touch / Hold and you'll behold and beholden for all that you've done / Spell, cast a spell, cast a spell on the country you run." In "Soldier's Poem", Bellamy asks, "How could you send us so far away from home / when you know damn well that this is wrong?" And in "Knights of Cydonia", "I'll show you a god who falls asleep on the job / how can we win when fools can be king?"
For some reason, listening to the falsetto swoops of the first single, "Supermassive Black Hole", something jarred loose in my mind. I could no longer hear Thom Yorke lurking behind Bellamy's voice. Instead, and throughout the whole album, I now hear the voice of Freddy Mercury. The melodrama, symphonic theatrics, and dance oriented rock of this album all echo Queen and Bellamy's education in classical piano makes the comparison to Mercury obvious. And that comparison feels right. The arena sound that Queen cultivated fits well with what Muse is doing here, and has been leading up to for the last 7 years.
With Black Holes, Muse hasn't released the best album of their career, just the best one so far. The huge talent and epochal potential of these musicians is on display here. Don't miss it. In "Hoodoo", Bellamy whispers "I had recurring nightmares that I was loved for who I am / and missed the opportunity to be a better man." I won't tell him if you won't. The next stop for Muse is beyond the edge of the galaxy.