Lead single "Supermassive Black Hole" is quite a shock, what with Bellamy singing in falsetto, but it is probably the best choice for a single as it is such a head turner. "Starlight" is all about the hypnotic bass of Chris Wolstenholme under a soaring piano with Bellamy's vocals tying it all together. Of course it leads you into the next track, "Starlight," and you are hooked. Its somewhat familiar keyboard intro and Matt Bellamy's frankly bonkers nonsense lyrics build up throughout the track as the guitars and drums slowly creep up on you until you find yourself being dragged into the music just waiting for what is going to come next. The album kicks off with "Take a Bow," which sounds like something out of a Flash Gordon serial. So when details started to emerge about this, their fourth studio album (fifth album overall if you include the b-side collection Hullabaloo Soundtrack) and everyone was talking about it you knew it was going to be special.īlack Holes and Revelations is probably going to be the silliest album title of the year, but then Muse have never been a band to deal in subtlety. Absolution seemed to refine that sound and all of a sudden they were everywhere. Then in 2001 they came out with Origin of Symmetry and it seemed like a completely different band, gone were the slow miserable songs and in came this adventurous bombastic sound full of OTT headfuck guitar riffs and an almost gleeful will to be as big as they could. Then they had just released the very Radiohead sounding Showbiz and seemed almost destined to spend their career being compared to the Oxford based supergroup. If you asked me six years ago to name a band that at this time would seem about to take over the world I really don't think Muse would have even been in my top 50 choices. Muse – Black Holes and Revelations - Warner Bros., 2006
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