Black Holes and Revelations - Muse

... (3'59)
3. Supermassive Black Hole (3'32)
4. Map Of The Problematique (4'18)
5. A Soldier's Poem (2'12)
6. Invincible (5'20)
7. Assassin (3'31)
8. Exo Politics (4'47)
9. City of Delusion (4'48)
10. Hoodoo (3'43)
11. Knights of Cydonia (5'50)


~ Released in the UK: 03/07/2006 ~


~ Produced & Mixed by Rich Costey ~

...
...syllables).

Black Holes and Revelations is not, as one reviewer recently claimed, lyrically 'tongue in cheek' nor is it over-rated as its recent nomination for a Mercury Music Award would allude to …what it is however is an often very dark, highly political, highly incensed, progressive rock guitar and retro 80's synthesizer offering of extreme magnitude all rolled into one. It made my ears weep!

The fact that it was ... more

~ The Members ~

#Matthew Bellamy - Lead Vocals, Guitar, Keyboards, Piano
Trivia - Matthews Father was George Bellamy being a guitarist in the 1960's British rock outfit, The Tornado's. Their hit, "Telstar" was the first British single to make it to number in the US charts.

#Christopher Wostenholme - Bass, Backing Vocals (with a little guitar when requested very nicely)

#Dom "drum set smasher extraordinaire" Howard - Drums

~ The Tracks ~

1. Take A Bow (4'35)
2. Starlight (3'59)
3. Supermassive Black Hole (3'32)
4. Map Of The Problematique (4'18)
5. A Soldier's Poem (2'12)
6. Invincible (5'20)
7. Assassin (3'31)
8. Exo Politics (4'47)
9. City of Delusion (4'48)
10. Hoodoo (3'43)
11. Knights of Cydonia (5'50)

~ Released in the UK: 03/07/2006 ~

~ Produced & Mixed by Rich Costey ~

~ The Ramblings ~

Often described as a small sleepy harbour town in South Devon, Teignmouth (pronounced 'Tinmouth') can hardly be held on high as a nest bed for groundbreaking progressive music with a political undertow of tsunami proportions, but somehow, where Muse is concerned, this is the case.

Although non of the trio that make up Muse can claim to be born and bred in Teignmouth, its influence, or more precisely, its lack of influence in relation to 'things to get into as a typical teenager' led to the formative years being characterised by, as Bellamy stated in a recent interview, "hanging around, smoking and listening to music as there wasn't anything else to do." It appears that out of the towns' laissez faire approach to its youth, musical creativity through being in a band, as a route to both psychological, and potentially, geographical escapism was born.

'Black Holes and Revelations' is the fifth album by Muse when counting the 2001 soundtrack album Hullabaloo, and according to many stalwart aficionado's of all that is loved about Muse, it's a big bag of mainstream pants. I, on the other hand, preferring music that pushes the boundaries whilst still holding a structure which allows me to whistle my favourite tracks with enough decibel effect to act as a muffler against Luther Vandross' Greatest Hits (with emphasis on dross), which is morbidly being repeated in my house by the better half, think it's one superb album.

As a newbie to Muse though, I could be wrong…but I seriously doubt it. It has been hailed by critics as on a par with Radioheads' 'OK Computer', Pink Floyds' 'Dark Side of The Moon' and Foster and Allen's 'Back Home Again'… not because of style (which the latter exudes in more ways than one), but musical gravity… i.e. A heavyweight contender.

Other critics of Muse have argued that this album is a mish-mash of studio offerings that hang badly together and only exist on one album to satisfy the musical taste of their faithful many, notably in France and Japan, and the "on the mainstream fringe" brigade. Bellamy sees the eclecticism however in a more positive light believing that the album marks a watershed in the bands rediscovery of their passion for music and inventiveness. Bellamy has also reaped revenge on his critics by singing "Jive Talkin'" with accordion accompaniment late at night outside their front doors whilst they tried to sleep. Gary Bushell was allegedly heard to scream "Damn that Bee-Gee-esque hard rockin' progressive rock falsetto pitch perfect adopted son of Teignmouth"…(or something to that effect with less syllables).

Black Holes and Revelations is not, as one reviewer recently claimed, lyrically 'tongue in cheek' nor is it over-rated as its recent nomination for a Mercury Music Award would allude to …what it is however is an often very dark, highly political, highly incensed, progressive rock guitar and retro 80's synthesizer offering of extreme magnitude all rolled into one. It made my ears weep!

The fact that it was recorded in 3 separate locations, being France, America and Italy doesn't detract from its fluidity but adds to the overall mix with clear notable homage to those nations on the geographically relevant tracks. This is most obvious on the last two songs with atmospheric guitar riffs that openly plagiarise the spaghetti western.

~ The Tracks ~

1. Take A Bow
A track that has been reviled by may reviewers as being a weak intro to a great album and though their view is well off the mark it does impress me that these 'in the know' music critics cannot only talk out of it but are equally capable of penning their views directly from their own posterior whilst having their ears shoved full of loft insulation and thinking McFly are the new Beatles. "Take a bow" gives you just a taste of the musical roller coaster ride awaiting the listener whilst verbally enlightening the ear drums with a lyrically sublime affront to the political corruption that is dominant in the 'civilised world' with closing lyrics promising that the political elite will burn in hell for their sins. A track characterised by a swirling electro synth backing that exists somewhere between 'Yes' and retro 80's pop and culminates in a majestic and yet ominous "your doomed" guitar riff. Bellamy's chant relating to the powerfuls' comeuppance is perfectly held in place by the haunting harmonics of Wostenholme.

2. Starlight
You get the feeling that this power ballad would fall flat on its rear and scream "please relegate me to a B-side by 80's glam rock band Europe"… however, after a number of listens I am finding the repeat button is a welcome reward. The chiming synth being juxtaposed to the grating reverb of Bellamy's 'Hugh Manson' custom guitar is totally entrancing…it's like Ultravox with balls. This is essentially a love ballad wherein the author realises that the value of one can easily out-weigh the many…and the chorus? I am going to have to remember to wind the window up in future when this song hits the speakers in my car… very embarrassing.

3. Supermassive Black Hole
Do I need to go here? You must have been living in a Tibetan commune with your head submerged in a vat of Angel Delight if you haven't heard this one…an absolute blinder in every sense of the word which makes Robert Palmers 'Addicted to Love' appear like a walk in the park with sickeningly fluffy girly girls wearing pink gabardine dresses. I'm trying to work out what aspect is most raunchy in this track…the weighty drums....the reverberating undertow of bass... the droning reverberating riff of Bellamy's lead guitar or the writhing falsetto vocals of Bellamy himself? ..."who cares?" Suffice to say that if Bellamy offered me back to his place for a coffee after hearing this, the only thing I would be saying would be "where's my pink gabardine coat?"

4. Map Of the Problematique
It is a little unnerving this one… I loved Depeche Mode and too all intent and purpose this is clear unadulterated plagiarism except for one thing…it's better than anything Depeche Mode managed to lay down. Bellamy's haunting drone overlaid with sublime crystal clear piano melody backed by an addictive synthesizer loop and held together tightly by a magnificent infectious drum beat makes you want to don black and look morbidly at your feet at regular intervals. Whereas "Supermassive Black Hole" speaks of absolute absorbed dependency, "Map of the Problematique" highlights the pain of loss… a connection? Being both recorded in New York and set back to back, I think this is more than just coincidence.

5. Soldiers Poem
Lyrically beautiful and poignant, "How could you send us so far away when you know damn well that this is wrong? I will stay lay down my life for you and do you think you deserve your freedom? No I don't think you do. There's no justice in the world. There's no justice and there never was."

Remember Sinatra's "My Way"…a beautiful introduction through a very simple brush stroked snare and acoustic guitar…extremely infectious yet extremely cheesy… now remove the cheesiness, add the harmonics of Queen and throw in lyrics that make you think that you really have got it bloody good and your getting near to the effect this track has on you [Hold on got to wipe a tear away].

6. Invincible
How melodramatic is this track? It makes me want to wave the George Cross in my underpants from the top of the Eiffel Tower. A completely melodramatic track with eerie synth high pitched backing, a military style drum roll, a U2 style guitar backing from 'The Joshua Tree' era…then… Van Halen guitar solo… Jeez… Why didn't they pick this for the England World Cup theme? Because they are as daft as a brush!

7. Assassin
Bellamy often cites "Rage against the Machine" as an influence for the Muse style…mix that with the opening sequence for Knight Rider and your getting close… a track which basically condones the assassination of political leaders and the destruction of democracy…a fantastically frantic track with extreme upfront percussion and a melodic guitar riff that holds the listener within ear damaging proximity to the sub-woofer.

8. Exo-Politics
Basically this track begs that the layperson get intellectually sorted and challenge the government due to the amount of spin it exudes and the prevarication it utilises to justify its actions. But for me it beggars one question being: Why is it when you put echo on the word "sky" or "skies" in a hard rock track with a head mashing chorus of unbelievable addictiveness does it sound so bloody good? (Answers on a postcard please) as Guns N' Roses pulled it off (metaphorically speaking) in "Sweet Child of Mine" and Muse do it here. A truly superb offering, potentially the best on the album; Heavy bass line, thumping drum, positively addictive chorus line.

9. City of Delusion
Were talking flamenco guitars, Spanish horns, strings, samba style rhythms and ass kicking gutturally enforced lyrics from a band that doesn't know when to say in an extremely camp voice "Oh darling, that's so last year." This track takes the listener from a place of acoustic guitar driven precise beauty to a place of absolute mayhem and then back again. The Spanish horn typifies this offering and shows that Muse is more than just progressive rock and retro 80's synth. It pays respect to the traditional and then bastardises it to the point of unequivocal anarchy.

10. Hoodoo
Ever heard of The James Taylor Quartet and The Money Spider Album? If not then listen to Hoodoo. Recorded in Italy you can't help but have visualisations of a tumbleweed infested landscape with linear eyed Lee Van Cleef and devilishly handsome Clint Eastwood casting aside their Poncho's to enable a duel of magnanimous proportions that will leave the victim lying in a pool of scarlet blood asking for a final smoke before being left for the vultures. I love this track but can't help but feel that Muse took some influence from Chris Isaak but then it sweeps off to a place that only Tchaikovsky can take credit for in his first piano concerto and all is once again well with the world…but only just.

11. Knights of Cydonia
Once more and finally to the land of the spaghetti western being recorded in Italy. If you listen carefully I'm sure you can hear an 80 year old Morricone demanding more sauce on his pasta… it's the good, the bad and the ugly riding hell for leather to a point of lyrical no return condoning the overthrow of the foolish leaders who waste our time on war and destruction. Where "Take A Bow" enters majestically from humble beginnings with cap in hand asking us to realise the fact that our leaders are extremely self-centred, power mad freaks of nature, "Knights of Cydonia" screams at you in the face "and what are you going to do about it." For me, the first thing I wanted to do on hearing this track was phone 999 because I thought I was having a cardiac arrest. An intro sounding like the aliens have landed in their UFO's is quickly rode over by a darkly atmospheric guitar riff that makes you want to saddle up the nearest pedestrian and force them to rear up and whinny before whipping them into galloping action through the streets of your home town...something I haven't felt the need to do since that fateful night in 1986 when Sigue-Sigue Sputni released "Love Missile F1-11." A rollicking drum beat, chocolate spread smooth harmonies (of the Green and Blacks variety), screaming guitar solo's and a franticly abrupt musical conclusion leave you reaching for the brown paper bag gasping for breath.

~ The Cover/Design~

Now please bear with me for the final push for it is worth a mention. Now, I'm no art critic but the cover design for this album is absolutely sublime. At first glance it shows four well rounded folically challenged men in bad suits sitting round a table in the middle of the desert…closer inspection though tells a very different story.

You realise that in the background sky sits the earth and the moon and therefore there seems to be reference to something being outside our reach and our control. The four men all wear bad suits with iconic representative significance; One has an eye design representing being watched (Big Brother); One is gold indicating greed; One is mirrored in design indicating vanity and finally one has religious emblems which is worn by a man also donning blinkers… an obvious relationship to the blinkered views and expectations of religion on its followers. On the table stand horses that are trapped and at the same time herded by the four men in suits… a representation of us in our present day society? If you have any alternative interpretation then please tell… [Update...ofcourse it's the four horsemen of the Apocolypse!]

This album overall deserves the lengthy review. It is challenging in every respect and should be bought if only just to swipe long term moaning Muse fans round their head whilst saying "get a grip…and move on…Muse have."

Oh…and if you get the chance try to get the American or Japanese import for in the case of the former it is coupled with a live DVD and in the case of the latter you get a bonus track. What did they do to deserve that?

Footnote: Euterpe was one of the nine canonical muses with a flair for music and and lyrical poetry - but you knew that......X 

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