Black holes and revelations Hold you in my arms I just wanted to hold You in my arms Far away This ship is taking me far away Far away from the memories Of the people who care if I live or die And I'll never let you go If you promise not to fade away Never fade away Our hopes and expectations Black holes and revelations Our hopes. MUSE 1994-2014 Worldwide Tours EVOLUTION. 2006 BLACK HOLES AND REVELATIONS Album 4. (full) HAARP album. 2006 SHEPHERD'S BUSH Empire. Muse - Take a Bow Muse - Starlight Muse - Supermassive Black Hole Muse - Map of the Problematique Muse - Soldier's Poem Muse - Invincible Muse - Assassin Mus.
- Muse - Black Holes And Revelations - Album Of The Year
- Muse - Black Holes And Revelations Lyrics And Tracklist Genius
While MUSE had already taken on a unique mix of alternative and progressive rock laced with electronica, New Romantic classical, tango and myriad other styles, on BLACK HOLES they upped the ante even further with cited influences including the synthpop of Depeche Mode, the harsh distorted rock of Lightning Bolt and the funk rock of Sly & The Family Stone as well as the heavier alternative funk rock of the lesser known Belgian band Millionaire from whom they acquired the unique stop / start rhythmic beat as well as that interesting bass groove. In a way, one could consider MUSE one of those ultimate mimicry bands much like Mr Bungle in terms of unbridled creativity where no stones are left unturned since there are actually many more influences lurking beneath the more familiar ones. Once again Matt Bellamy unleashes his best Bono ( of U2 ) inspired vocals afire in passionate display but also new to the mix are the keyboard parts that remind me a lot of the 'War' era tracks of U2 such as 'New Years Day.' These keyboard parts recur throughout the album.
While political corruption, conspiracy analyses and extraterrestrial themes are nothing new in the MUSE canon, on BLACK HOLES AND REVELATIONS they excel like never before. With a comfortable foothold in America and top tier status in the UK, MUSE went for the jugular with themes covering political corruption, revolution, New World Order and the expected science fiction laced polemics such as UFOs. This album overall exhibits much more hard rock heaviness than the previous ones. While the first three albums were rather inconsistent in the heaviness department, on BLACK HOLES almost every track except 'Soldier's Poem' and 'Hoodoo' have hard rock as the main backbone of their compositional makeup. Bassist Christopher Wolstenholme has also stated that the band was more relaxed and it is apparent by the chemistry afoot on BLACK HOLES that it was the case. Add to that the production is OMG superior to the previous album and just by reading the army of mixers and producers makes it quite clear that this album was heavily manipulated in every aspect as to eke out the most pleasing sonic effects.
With a Queen meets ELO bravado, 'Take A Bow' sets the tone with a jittery midi sequencer and a take no prisoners critique of the elite's destructive greed that has been ravaging the Earth with sharper vituperating lyrics that find MUSE in a cynical mind set as they hammer away at the miscreancy of the a ruling class run amok. 'Starlight,' one of the hit singles on the UK charts anyways offers a respite from the progressive wrath of the opener with a piano run churning out odd time signatures before jumping into rock mode. The band stated that this was the hardest track to record and about seven versions exist. Do i hear a box of unreleased goodies in the future? The next track and most successful single of the album, Super Massive Blackhole' was my personal introduction to the world of MUSE and the gateway drug to the larger spectacle that the band has become. Not only is this track an interesting alternative rock performance that utilizes Matt Bellamy's falsetto skills to fullest level (they're back after a dampening on 'Absolution,') but it kinda sounds like Prince joined in as the track is funky, danceable and infectious as hell with a strong groove, interesting dynamic shifts and even a backmasked guitar solo.
'Map Of The Problematique' sounds sorta like something more modern that could fit in on U2's 'War' album with the same Edge styled guitar sweeps and that famous piano run heard on 'New Year's Day.' The track tackles the polemic subject of limits of growth and escaping to Mars which the cover art refers to. While the album is by far the heaviest with almost every track rocking out big time, 'Soldier's Poem' is a slow acoustic ballad sounding like something Freddie Mercury would've conjured up. Continuing the genre jumping, 'Invincible,' influenced by David Bowie's 'Heroes' was the fourth single starts out slow with a military march percussive drive and evolves into a more sophisticated rock track with a haunting theremin adding an eerie atmospheric presence. 'Assassin' is a bona fide heavy rock with stellar riffing in progressive time signature chops and performs much like the track title connotes.
'Exo-Politics' continues the rockin' out with a catchy guitar riff, spooky atmosphere with more theremin and a crooning Bellamy lamented the political suppression of extraterrestrial life. 'City Of Delusion' begins with a Who inspired acoustic guitar strum-a-thon and wends and winds through some interesting progressions that venture into rock and electronica and ultimately back full circle while utilizing the main melodic theme to tie it all together. 'Hoodoo' is an instrumental surf rock track with a few interesting twists and turns that is the perfect build up to 'Knights Of Cydonia,' inspired by the 1962 hit 'Telstar' by The Tornados which featured Bellamny's father George Bellamy on guitar. The track is like riding in the wind through a spaghetti western with surf guitar and progressive pop accoutrements popping up all about including trumpets. This is one of the coolest songs ever and is the perfect way to end a perfect album as it fades to a satisfying crescendo of heavy rock, fight or flight bravado and references to self-preservation. The sequenced key parts are based on the five tone musical phrase from the film Close Encounters Of The Third Kind.
In the day many critics called the album 'overblown.' Sound familiar? Any time an artist dares exceed the comfort zone of a critic, it gets deemed overweening and dangerous to society. In the case of BLACK HOLES AND REVELATIONS i couldn't more wholeheartedly disagree with such punditry. This album is a masterful youthful critique of the world around the musicians involved. Not only does this trio deliver a passionate plea to the world in terms of ecological justice, spiritual elevation and conspiratorial analyses but it delivers simultaneously some of the most carefully crafted pop hooks disguised by a vast web of musical influences that are juxtaposed in perfect conjunct. Focus too much on a certain aspect of the MUSE-ic and it can certainly derail from overindulgent intellectualism but if one suspends the fact that many musical influences (which are openly cited), then one can come to the conclusion that ALL developments in not only music but science, linguistics and politics are derived from an amalgamation of what came before. MUSE excels in taking a ridiculous amount of musical antecedents and weaves them into something utterly unique. This album was love at first listen and after dozens if not over a hundred listens, it only gets better and better. While i've never made a top 100 album list, i can honestly state that this one would be on it. I simply don't understand why this isn't deemed one of the best pop rock albums of the 21st century. It certainly is for me.
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After the Absolution Era, Muse progressed to 2006 with the brand new release, Black Holes and Revelations. After listening to the album in full, you can hear the new genre of ‘Space Rock’ throughout. With songs names such as Supermassive Blackhole, Starlight, Knights of Cydonia and Exo-politcs, along with the name of the album, this would make sense as these are all space related entities. Another theme throughout was the thought of a dystopia feature, talking about revolutions and “fighting for your rights”. (J, Touzeau 2007)
Throughout the creation of the album, it was stated that particular influences were Rage Against the Machine, Ennio Morricone, Nina Simone, Lightning Bolt and Belgium bands such as Evil Superstar. The Lightning Bolt influence can be linked to why they played Dracula Mountain live when they performed.
Knights of Cydonia has been self admittedly been influenced by Bellamy’s father, George Bellamy who was also in a band called The Tornadoes, and a similar riff could be hears in their hit song, Telstar. Knights of Cydonia as written to be a journey through 40 years of history and it can be heard throughout, from the slow anthem like beginning, to the ending that consists of a heavy rock riff. When soloing the drum track during the final section of the song, Dominic Howard (drummer) seems to have borrowed the drum line straight from Bohemian Rhapsody by Queen. Muse may have taken influence from Ennio Morricone and they pay homage to this when performing the song live, playing a rendition in their take of Man with a Harmonica as an intro.
Through the creation of this album, Chris Wolstenholme stated that the band had been listening to Islamic radio stations while recording Assassin. System of a Down was again referenced as an influence, again, with the use of quick tremolo picking on 3 or 4 notes. The use of barber shop quartet vocals are heard excessively through this song, which is an interesting choice as it is one of the heaviest songs in the discography of Muse. The extended version of this song actually includes a heavy rock rendition of Prelude in G minor, once again by Rachmaninoff. (Muse featured in NME and Kerrang!Retrieved from muselive.com.)
The late David Bowie’s Heroes was an influence for the song Invincible.Invincible is a slow slide guitar based song, reaching the rapid guitar tapping solo with heavy uses of guitar effect, such as a koass pad and whammy pedal. In an interview, David Bowie had actually appeared keen to make a collaboration in the studio, however the band wasn’t quite ready, so Invincible was performed for him, and Bowie allegedly enjoyed it.
This can be heard below:
The piece, City of Delusion, seemed to have been again influenced by eastern/Latin styles. Installshield wizard free download windows 10 32 bit. The chord structure and rhythm matches as such and the song itself has a trumpet solo, surely displaying the Latin influences.
A trivial aspect from the song Take a Bow, a very dark heavy song, with constant synth arpeggios, changes key 13 times, using a ‘circle of fifths’.
Starlight underwent many changes until the final product was created, and Wolstenholme stated that the song itself sounded like something from the band The Strokes. Starlight was shone in the spotlight by reaching high rankings on many charts around the world, as well as being portrayed in the media often (e.g. TV commercials, movies etc.). (A Willsher NME 2006).
Another song from the album that was offered much commercial success (aka featuring in Twilight), was Supermassive Black Hole. It was apparently influenced by bands such as “Millionaire, dEUS, Evil Superstars and Soulwax” because these bands were the first to mix R&B rhythms with alternative guitar. (Craig Fitzsimons. 2006).
Map of the Problematique bears similarities to that of Enjoy the Silence by Depeche Mode, again utilising electronic elements and fusing it with rock music. As an outro to this song when played live, Muse often used the breakdown riff from “Maggies Farm” by Bob Dylan (Seen below).