![]() ![]() If you take the time to read interviews and let's be honest, you don't have time to do all that, which is why I'm here, Matt Bellamy has stated it is intentionally overbearingly optimistic. One of the more misunderstood, even critically hated, tracks, 'Invincible', appears to be defeated by its cliche lyrics at first glance despite its powerful delivery. The interlude 'Soldier's Poem' cools things down while also delivering some of the best lyrics on the album, simultaneously breeding calm and anger in its melancholic wake. 'Map of the Problematique' changes direction with its 80s inspired synth, being the best Depeche Mode song you've never heard, four piano keys being driven into you subconscious while soaring falsettos abound around shimmering guitars. The done-to-death singles 'Starlight' and 'Supermassive Black Hole' follow, but the emotional, sleek appeal of the former and sickening groove of the latter will be stuck in your head forever regardless of any disputes you may have with the overtly pop-oriented songwriting. The minimalist approach gives way to an epic, spine-tingling ending you won't soon forget, laying the groundwork for what will be forged ahead. The ambition of 'Absolution' is streamlined and realized on the follow-up 'Black Holes and Revelations', showcasing musicians no longer afraid to play it safe while transcending genres as if it were a simple hat trick.īeginning this intimate odyssey, 'Take A Bow' centers around an unrelenting synth, building into an anticlimax of slow doom chords. This is when Muse stepped out of their shadow to pursue a more bombastic, unrestrained rock sound that welcomed the nuclear blast on the horizon with delectable melodies indeed fitting as an end of the world soundtrack. ![]() The murmur that formed around 'Origin of Symmetry' became a full-fledged movement after 'Absolution' declared we, the human race, were doomed. The band will play Download festival on June 13.Review Summary: Ten years later, 'Black Holes and Revelations' remains a tour de force for modern rock music. The closing lyrics – “My mother, my father, my sister and my brother, my son and my daughter, killed by drones” – don’t exactly add up to a happy Hollywood ending.ĭrones will be released on June 5 through Warner Brothers. **DRONES **The album closer, a spacy, celestial hymn of sorts, with layer upon layer upon layer of overlapping vocals, like Spiritualised at their most trippy, over-powering and experimental. You were never truly nurtured, by churches or the State.” Epic, overblown, and very, very Muse. “You were never truly loved,” wails Bellamy. A 10-minute monster, The Globalist opens up as a ballad with Ennio Morricone-style whistling and shimmering Deer Hunter chords then shifts gears into a full-tilt metal riff that wouldn’t disgrace Iron Maiden before settling down into a grand, classical piano finale. THE GLOBALIST Described by Matt Bellamy as a sequel of sorts to Origin Of Symmetry track Citizen Erased, The Globalist is the point on Drones where Muse abandon notions of ‘stripping down’ their sound, and go over-the-top in spectacular fashion. Well, that and Rod Stewart’s 1975 hit Sailing, which would be a rather less subversive steal. ![]() Intentionally or not, the song’s widescreen chorus melody has echoes of the “stand beside her, and guide her” refrain from God Bless America. **AFTERMATH **The album’s ‘Let me see your phones in the air Download!’ stadium-sized ballad, Aftermath starts off as an amalgam of U2’s One and Dire Straits’ Brothers In Arms with weeping strings and atmospheric Edge guitars. ![]()
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