Every time I see an adult on a bicycle, I no longer despair for the future of the human race.
H. ...
Every time I see an adult on a bicycle, I no longer despair for the future of the human race.
H. G. Wells (1866-1946)
Member since:16.01.2004
Reviews:57
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Black Holes and Revelations, Muse's fourth full-length effort, can only be described as overindulgence to the extreme. With this record Muse have finally unshackled themselves, opened themselves up to a whole new set of influences and finally shaken their 'poor man's Radiohead' tag, which has seemingly clung to their legs like a horny jack russel. It is a testament to Muse's technical and creative ability when I say that no other band could have made this album. In the hands of any other this album may have seemed pretentious but with Bellamy's evocative voice oozing sincerity at every turn it is hard to ignore the emotive nature of each and every song. The focal point of this album is clearly the vocals, with Bellamy invoking images of apocalyptic meltdown on a galactic scale, spiralling planets engulfed in the fiery jaws of supernovae. Alongside this, guitars swoop and soar and tension rises and falls as Muse lay out their vision for the future. Prepare for one hell of a journey.
From the opening track 'Take a Bow' with its synthesised pulse and rising sense of dread, you get the feeling that Muse have deliberately tried to veer away from the rock industry standard. Make no mistake, this is in no way Absolution Mk. II. 'Take a Bow' is an obvious swipe at 'Gee-Dubyah' and Bellamy's haunting vocals are like a knife to the heart, as he menacingly whispers - 'You'll pay for your crimes against the earth'.
As the dying embers of track one burn out a more familiar landscape unfolds before your ears as the 'Bliss' sound alike 'Starlight' takes centre stage, with its uplifting piano intro and insistent, throbbing bass line. This song is standard fare for Muse and marks probably the lowest point on the album, sticking to the grandiose chorus and mountain scaling vocals, but fails to truly grab the listener. It's not a bad track but is certainly nothing to write home about.
Then from the lowest point we suddenly find ourselves propelled to the album's tallest heights, first single, Supermassive Black Hole. This song is like no other Muse have ever written and blends a funky, disco style riff with heavy, brazen drums that, put simply, could level a building. No matter how many times I hear this song the sleazy, almost dirty guitar riff never fails to send a shiver down my spine. There is something special about this song- it demands your attention like no other - for three minutes you are literally its bitch. Bellamy's vocals reach an all new high as he delivers the most sordid sounding vocals in history, "Oooh baby can you hear me moan…". Trust me, once you hear this song you'll never feel clean again. Make no mistake, this is the single of the year.
From this point on the album grows into a masterful work of art, taking you on a journey of unimaginable proportions. From the dance laden, electro groove of 'Map of the Problematique' to the lamenting, undeniably poignant 'Soldier's Poem'. This album takes everything that Muse have ever done, turns it all upside down and inside out, and the result is an album that evokes emotion at every turn. The 'System of a Down' inspired intro to 'Assassin' explodes from the speakers like an army made of pure sound, invading through your ears, intent on ripping your brain to shreds. The guitars are stuttering and sharp, like a 'sniper-shot' and Bellamy yowls and croons over a maelstrom of noise that literally rips from the speakers. You can feel the tension at every turn as Muse hold back the wall of sound at their fingertips, waiting for the perfect moment to unleash that chest exploding riff or eardrum popping drums and when it comes the feeling of release is palpable, not unexpected but powerful all the same.
As the album swaggers from one hit song to the next you get the feeling that any one of the tracks could be singles. They are all infinitely different but in their own right exceptional. As the album draws to a close the quality of the songs continues to impress. 'Exo-Politics' takes conspiracy theories to a whole new level, as talk of alien controlled governments and machiavellian plots come to light. The guitars are fuzzy and drenched with overdriven tones of grandeur, the drums incessant and insistent. The vocals slide and sway over the top, like the tiny ripples out at sea that eventually crash on the beach as 15ft waves. 'City of Delusion' and 'Hoodoo' slow things down (though not much), allowing a slight breather but still maintaining the same feeling of impending disaster and loading themselves with even gloomier portents of doom. The final track, 'Knights of Cydonia', a spaghetti western style epic, inspires images of intergalactic robots, battling it out on far away worlds against the backdrop of the old wild west. Bellamy's vocals sway and swagger alongside the country-esque guitars until the song explodes into something more reminiscent of Black Sabbath, culminating in a final explosion of noise and gravity defying riffs. "No one's gonna take me alive" Bellamy screams amid ear popping guitars. Simply genius.
When Muse produced 2003's 'Absolution', people thought that they had reached a peak. A perfect blend of songs that slotted together to form an album of previously unseen beauty and elegance. If Absolution is the prized and cherished daughter of Muse's earlier attempt 'Origin of Symmetry', then Black Holes is the bastard son. I am sure it will be hated and revered in equal measure. There will be those that lament the lack of stadium driven rock that Muse so elegantly delivered in previous efforts, but with this album a new vision for the future of rock has been envisioned; a future where bands will no longer will be consigned to retread the same old consumer driven pomp of Keane and Coldplay, but can open themselves up to something truly different. Bands need to be free to develop new sounds in what I believe to be a very stagnant genre. In years to come I hope that this album will be remembered as the focal point for that change. Buy this now and decide for yourself; work of genius or overblown pretension? One thing is certain though…. you must try this.
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a few things.
firstly great review.
Secondly check out a band called Klay www.myspace.com/klay
They're also from Teignmouth and were managed until recently by the fella who discovered muse.
And thirdly a little annecdote.
I saw muse at Glastonbury a few years ago, they played a mid afternoon set. It was great, all my mates were saying they'd be headlining next year, but me knowing best said "No chance, they're not that kind of band" how wrong I was
Sorry for the last one that was a bit dull
Advantages: An awesome piece of work. No music fan should be without. Disadvantages: Not long enough! Could be challenging to beat in terms of quality.
Advantages: Wide range of styles; MotP; live, these songs are amazing; band's talent is immense Disadvantages: So many different styles, some may not appeal to you
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