Muse - Black Holes & Revelations
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Free Music Notes for Black Holes & Revelations
Free Music Review: Fantastic album, made a fan out of a former Muse hater
Hit: 5 Stars
If you told me a few months ago that come 2006 Muse would release my favourite album of the year I'd probably find myself a quiet spot and laugh my head off, because, truth be told, prior to "Black Holes & Revelations" I thoroughly detested Muse. Or more precisely, I thought that I'd rather prefer my eardrums scooped out by a rusty spoon than listen to Matt Bellamy's histrionic singing and those loud asthmatic gasps he makes every five seconds. I had no intention whatsoever of buying their latest but was so impressed with the few snippets of music I've heard at a CD store one day that I decided to give it a go anyway... and fell absolutely in love with the album and its bombastic, demented, over-the-top glory. I've investigated Muse's back catalogue and still think that this is by far their best, most accomplished, consistent, eclectic and enjoyable album. It's enormously gratifying to see a band who actually gets better with every release; how many artists can you name who made a blistering hyped-up debut they never matched ever since?
The vocals? Well, now that I've been converted I can listen to Matt Bellamy for hours, :) But when I first got the album I was pleasantly surprised by the fact that the vocals were pushed further to the back and Matt's voice matured quite a bit and didn't seem as shrill as I remembered it. Musically, "Black Holes & Revelations" is an absolute smorgasboard that mixes in progressive rock, classical piano, Queen-like harmonies, flamenco guitar, metal, trumpets, synth-pop, galloping horses and lasers (no, really). The amazing thing is how well all of this gels together to create a true "album" experience where even relatively weaker songs sound great in the context of the album. "Soldier's Poem" for instance is not a great standalone song but it works well as a welcome mellow stopover just before things get intense again.
Standouts for me: "Starlight", probably the poppiest song Muse have ever done. Very simple but melodic and catchy piano and synths and nice controlled singing from Mr Bellamy. "Supermassive Black Hole": real surprise - a Muse song that's actually sexy! Great dancey groove and falsetto. "Map of the Problematique" - stomping synths that recall Depeche Mode. Makes you feel like you're travelling through some space portal. "Assassin" - the hardest song of the bunch with great agressive drumming. "Knights of Cydonia" - the album's epic closer and a brilliantly bonkers track which sounds like something Queen would write. I always feel an incredible rush when that final riff kicks in.
If I had to be super-picky, I'd say that although Matt Bellamy may be a guitar wizard and a great vocalist the lyrics aren't really his strongest point. They're not bad as such but to me they seem to be there just so that Matt has something to sing. And after listening to the earlier Muse albums it looks like he ditched the piano somewhat on this record which is a bloody shame. But these are all minor quibbles. Oh, and if you ever have a chance to see Muse live do so - they'll warp your mind.
Free Music Review: Muse's fourth opus
Hit: 5 Stars
There have always been very gut-level, instinctual reasons Muse hold the title of my all-time favorite band. Sure, I could write endless amounts on why I love them, but in the end, it's not an academic love. It's a bit more difficult to pinpoint.
It has something to do with the way every aspect of their music sets itself against apathy and indifference. How Matt sings every chorus like it's the most important thing we need to hear before we die. The way it's just the three of them up there on stage, creating this wall of sound so much larger than themselves. How they write music without caring if it sounds over-the-top, theatrical, pretentious, insane, at times even childish or naive. There is no "image" to risk: they have no image at all. They don't hide themselves, and they don't glory themselves. They just express, and express. And it can be euphoric, or ridiculous, or hilarious, or painful, or (many times) all of the above.
My point is this: when Muse goes about writing new music, it's usually not a question of whether or not I'll like it. It's a question that sounds more like: dear Muse, I know you've grown up a bit in that three-year absence. But how?
The answer: well, they're still nuts. Still meddling like twitchy scientists with tried-and-true rock formulas. But this time, that crazy paranoia is a bit more laced with optimism. Not settled, not at all - there's nothing "safe" about this album. Italian flamenco and synthesizers happily occupy the same space, for heaven's sake. But more mature - yes. Which is always true, with every new album. They never stop looking ahead.
A few random impressions:
"Take a Bow" was made to open their live shows. It builds and combusts more than "Butterflies and Hurricanes", which I didn't know was possible.
There is so much happening musically in "City of Delusion" your head will spin trying to keep track of it all. Arabian strings and trumpets alongside lyrics like "I will avenge and justify my reasons with your blood"? Yep, they make it work.
"Assassin" is Muse at their all-out heaviest. Rife with Queen-esque background choruses and a melody that soars just above the controlled chaos of sound, it's a glory to behold.
If Fox Mulder of the X-Files had a theme song, it would be "Exo-Politics" - possibly outting "Supermassive Black Hole" in the hook department.
"Hoodoo"'s mad piano mayhem was so unexpected I think my heart skipped a few beats.
"Invincible" is probably the most positive and upbeat song they've ever written.
And of course, what more can be said about the already-classics... "Knights of Cydonia". "Map of the Problematique".
I cannot fathom how they're going to pull off some of these tracks live, but I know it will happen, of course. Because if there's anything that beats new Muse, it's new Muse live.
For those long bouts before and after they tour your area, though, this beauty of an album will suffice. Buy and absorb.
Free Music Review: Finally, a recent album that rocks!!
Hit: 5 Stars
I have almost given up on good rock in the 2000's, but luckily there's always a band or album around the corner proving me wrong. Most of the newer music I like in recent years has been mostly Euro electronic/synth/dance, with some guitars here & there, as well as liking what bands I liked from the 80s & 90s have put out. Although Muse has apparantly been out for a while, they've only more recently gotten well known in the states. The 1st song I heard of theirs was "Time is Running Out", or rather I saw the video either on MTV (late at night, of course) or on Yahoo Launch, & then checked out a few more songs.
Too many good things about this album... First of all, you know there's something special when you instantly like an album, & not in that "like-oh-mi-gawd i-luv-this-song" instant gratification kind of way. 2nd, this album makes for GREAT driving music. The songs have drive, & even the slower tracks have something captivating about them. Another thing I like about this album is not all the songs sound the same. You can also sing or hum along quite easily without feeling too overwhelmed by the guitars, which is one problem I have with a lot of newer rock bands - they've lost their ability to contain a memorable melody, or some of them don't hardly have one to begin with... just chunking chords with either some dude screaming or whining. And, of course, this band's British... they always have it right over there anyway. And with a perfect timing of an album around 45 minutes, it's not too long or short.
1 - with that synthy beginning, what kind of album is this gonna be? then the guitars come in... there ya go.
2 - a little "new-wave" sounding, which of course I don't mind at all ;-) This is really the only song on here like it, & seems a little happier sounding than the others; I like it a lot though.
3 - this almost doesn't quite sound like them; it has a kind of "hip" sound similar to some music of today, but 10X's better.
4 - definitely one of my favorites here; you feel like you're traveling very fast in some sort of portal
5 - the pace slows down quite a bit; you'll have your head swaying slowly in no time though
6 - kinda mid-tempo with a hypnotic drum beat
7 - simply put, this song just ROCKS!!
9 - cool bass line & backing strings
10 - a slower track with a very familiar Spanish tinge; & you can't ignore the piano either
11 - a good ending song that rocks; not sure if this is a single, but it has a video... yeeee-haw.
As of now, I still have yet to hear all of their other albums, but I'm working on it ;-) I'm really glad I got curious about this band. Whether you've heard their other songs or not, if you even remotely like them, GET THIS!!!! Definitely one of the best releases of 2006, & will be on constant rotation for me for a while.
Free Music Review: Best album of 2006 so far
Hit: 5 Stars
I looked forward to the release of this album with great expectations, and my expectations were fully met. Muse's fourth CD seems to slightly outshine the band's previous album Absolution, but comes a bit short of the spectacular albums Origin of Symmetry and Showbiz. Still, Black Holes & Revelations should satisfy any loyal Muse fans out there with its catchy hard rock jams and heartfelt softer pieces. As usual there are plenty of neat musical patterns to enjoy, with electronic voices in "Supermassive Black Hole", mystic synthesizers in "Take A Bow", and low-toned throbs in "Knights of Cydonia". Like Muse's prior albums, Black Holes & Revelations gives the impression of a variety-filled performance which overall almost seems like a musical drama coming right out of the CD player, and with each song having a significantly different sound the music constantly succeeds in holding your attention. The first four songs are probably the most appealing, though the last song, "Knights of Cydonia", is definitely one of Muse's best for its use of horse sounds, synthesized rhythms, and catchy main line when three different sounding recordings of Matt Bellamy's voice are played on top of each other for a very neat-sounding end result. "Map of the Problematique" cleverly uses an electronic guitar pattern to set the rhythm for a great hard rock melody, and is reminiscent of my favorite Muse song "Citizen Erased" from the Origin of Symmetry album. The very first song "Take A Bow" sounds like something you might find off Absolution, using the fast-paced synthesizers evident in "Apocalypse Please" and "Hysteria" towards the beginning, but veering into an electric guitar slam in the middle which makes it one of the best tracks on the CD. Then there is the great song "Supermassive Black Hole", which is a hit I believe and reasonably so, for it has superb guitar riffs and Matt Bellamy uses a tone of voice which almost sounds like Beck, who I am also a big fan of. Muse has never really made a song like this one, whose use of whispers, electronically produced voices, and different tone of voice for Matt Bellamy produces an almost completely different sound for the band which is just as good as a typical Muse single. Overall, Black Holes & Revelations is an outstanding album which is necessary for any fan of Muse to own, and for that matter any fan of rock. Fans of Keane who have a hard rock side also would likely appreciate this album also, especially for the song "Starlight" where the melody and vocals sound a lot like something Keane would come up with. I would give this album a full five star rating and very much think it is the best CD to come out yet this year, though The Strokes and Three Days Grace have recently released awesome albums as well. Don't delay to purchase this CD, it's an amazing album!Free Music Review: You will burn
Hit: 5 Stars
Muse broke out internationally with their stellar third album "Absolution," after two albums of just-as-good-but-not-well-known work.
Now they've returned with "Black Holes and Revelations," a simmering symphonic rock tapestry that expands their sound into darker territory. It's also more electronic in nature, but the core of the band still lies in their magnificent, haunting rock'n'roll and classical arrangements.
It opens with a rippling keyboard melody, which blooms out into a soaring guitar melody and lots of blippy electronica. That feeling only grows as Matthew Bellamy starts to sing of death, damnation, and corruption. "You behold/And beholden for all that you've done/And spin/Cast a spell/Cast a spell on the country you run/And risk/You will risk/You will risk all their lives and their souls..." Political? Sounds like it.
Muse heads towards more pleasant territory in the bittersweet, yearning "Starlight," as well as soft mournful balladry, and wistful pop that blossoms out into spare, sizzling electro-rock. Bellamy shows the beauty in the bleakness when he sings, "During the struggle/They will pull us down... Let's use this chance/To turn things around/And tonight/We can truly say/Together we're invincible."
But the heart of Muse is still in rock'n'roll, like Led Zeppelin fronted by Beethoven. They still specialize in walls of embroidered sound, like elaborate rock tapestries. They play symphonic rock that sweeps all over the board, explosive bass-laden rockers, and fast-paced violin rock that ends with a whisper.
Muse hasn't abandoned their sound in order to go mainstream, even after making it big on this side of the pond. Their music is still dark, lacking in hope, and meditates on wastelands, glaciers and how "There's no justice in the world/And there never was." In case you were wondering, this is not fun music.
Don't be worried about the electronica. Muse only really goes dancy on one song: the twisted love song "Supermassive," which has a hypnotic dark beat. The rest of the time, it's just another instrument in the mix. Alongside the typical rock instruments, Muse adds in cascading piano and violins, as well as a glorious trumpet and some gypsyish acoustic guitar.
Matt Bellamy has that soaring, angsty voice that would sound emo if it weren't so powerful. As it is, his pipes are strong enough to soar over the complex hard-rock, but can also drop down to a soft ballad. "You'll have to set us free/Watch our souls fade away/Let our bodies crumble away/Don't be afraid/I will take the cold for you..."
Muse score another win in their dark, powerful fourth album, full of spacey electronica and sweeping hard rock. A must-listen for 2006.