Muse - Black Holes and Revelations
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RIYL
QueenRadiohead
Tracklist
1. Take A Bow2. Starlight
3. Supermassive Black Hole
4. Map Of The Problematique
5. Soldier's Poem
6. Invincible
7. Assassin
8. Exo-Politics
9. City Of Delusion
10. Hoodoo
11. Knights Of Cydonia
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When reviewing Muse, journalists cannot seem to refrain from comparing them to Radiohead. Whether they are so deaf that they view them as analogous bands — which they are not; the only similarity is the vocals and even that’s a stretch — or because it’s a convenient way to open a review is hard to say. Muse is neither a poor-man’s Radiohead nor a Radiohead copycat, but American critics see two English groups that play unconventional rock music and immediately group the two together. I wish to upbraid whoever started the whole Muse / Radiohead comparison, and point them towards Botch-worshippers Norma Jean as better examples of successful epigones, purveying their recycle-core on those ignorant of secular music. Now let us move to the subject of Muse and Muse alone.
Although I believe strongly in treating an album as an independent unit, something complete within itself, and examining it without consideration of a band’s past records, members’ personal problems, etc. — sort of like New Criticism applied to music — it is important to ascertain if a band is progressing, challenging themselves, and besting their previous output.
My first exposure to Muse was with Absolution, as I’m sure it was for many. I was immediately amazed at the massive sound the group achieved. When I discovered that they were a three-piece I was incredulous, especially considering how layered their songs are. But while there were several solid songs on the album—such as “Hysteria,” “The Small Print,” “Time is Running Out,” and “Stockholm Syndrome,” I felt that there were also many songs not quite filler but certainly not rewind-worthy. I heard that Origin of Symmetry was a better record, but after listening to it was not convinced. Although I have not heard all of Showbiz, I believe that Muse still has not crafted an album which stands as an overall remarkable piece of art.
With Black Holes and Revelations I believe the group is drawing ever closer to that goal; they realized that while they had perfected their rock-cum-classical sound, it was time for an injection of new ideas. So on BH and R Muse has increased the complexity, turning their somewhat-frequent incorporation of electronics to an integral part of the attack. The album is peppered with a few, what I would consider, throwaway tracks, in “Soldier’s Poem” and “Hoodoo,” but is more consistent than I found their previous records.
I will abstain from doing an analysis of every track, but will note what I believe are the most important songs, those demonstrating Muse’s successful incorporation of fresh ideas and experimental strides.
“Take a Bow” is an excellent album opener, acting as a sort of movie-trailer for what’s to come. One can picture amongst the initial keyboard flourishes, the bold words: MUSE RETURNS AFTER THE BREAKTHROUGH ABSOLUTION WITH THE ENVIGORATING NEW ALBUM, BLACK HOLES AND REVELATION. The song demonstrates the album’s heavy reliance on electronics and establishes recurring lyrical themes such as devastation—“You bring death and destruction to all that you touch”—and Matt Bellamy’s ever-present fascination with religious themes, in the certainly-not-subtle “You will burn in hell for your sins.” The reverberations of the word “bow” before the drums emerge is an excellent touch.
Although I question its order on the album, “Starlight” is a perfect example of a ballad-esque track done right, never whiny, not maudlin or cloying, but still melodious and ideal sing-along material. By incorporating some heavier elements, Muse proves it can still affix its own signature sound to a bit of a departure.
“Supermassive Black Hole” goes past departure to transformation. The song is worth noting simply because it’s the album’s first single, and is both a surprising choice for that position and not one; it at once shocks Muse devotees with its dance grooves but evinces the growth and new vision of the band.
My favorite song on the album is undoubtedly “City of Delusion,” which I like to think of as Muse channeling The Mars Volta. Nowhere else on the album does Muse so seamlessly blend disparate elements such as acoustic guitar, strings, horns, and a tango rhythm, to augment their signature crunch, proving that it is possible to embrace one’s influences without copying them. Try not to be affected by the song when the cacophony subsides for a moment around 1:50 to reveal a Chris Wolstenholme bassline ostensibly emanating from underwater, and portending the oncoming onslaught.
Just as “Take a Bow” fittingly began the album, “Knights of Cydonia” concludes it. It starts with a buildup long by Muse standards: a fuzzy guitar riff snakes alongside galloping drums and understated trumpet, until Bellamy’s vocals appears around the 2:00 mark. The song continues the Latin influence of “City of Delusion” and combines it with acapella Queen falsetto. In fact, after an extended chant, “Cydonia” evokes the famous Wayne’s World “Bohemian Rhapsody” headbanging scene. The chant returns and the guitars rage and chug along amid tasty fills by Dominic Howard.
I believe that Black Holes and Revelations is a very important record for Muse. After establishing that they had mastered the arena-rock-done-tastefully sound with their first three records, they demonstrate with this album that they refuse to remain complacent and will continue to push themselves and attempt new sounds they never imagined their band producing. In other words, although I believe with BH and R that Muse has not yet realized all of their goals, the album heralds the appearance of even more experimental music in the future.
--Stephen Chamberlain
Comments
Sheffield
DeKalb, Illinois
Bedford, OH
And Norma Jean.
And Muse.
And Radiohead.
I've still yet to hear anything else other than Supermassive... from this album yet. I don't really have any expectations, but I suppose I'll probably enjoy it at least.
rasta
Austin
The Daily Galaxy
An elephant that never forgets...to kill!
Fort Bragg, CA
The Great North Woods
Darla Farmer
RIYL:
the Beatles
Tom Waits
Murder By Death
A Whisper in the Noise
the Blood Brothers