![]() The ticking urgency of 'Time Is Running Out' and exigent venom of 'The Small Print' refuse to spare so much as a second of wasted time.Įlsewhere, the crushing riffs of 'Stockholm Syndrome' flaunt the band's incomparable guitar mastery and Bellamy's knack for claiming sovereignty with his weightless vocal. Carving itself into the apocalyptic doldrums of "something biblical" and only wrenching free at the bitter end, Absolution is Muse's most concise album. The band's third album is significant firstly because of its role in setting the stage for global success.Ībsolution provided Muse with their first number one record in the UK and made the US sit up and take note, paving the way for the band to claim a place in the top 10 over in America with their following record.īeyond its commercial significance though, Absolution is a manifestation of all of Muse's flair and idiosyncrasies neatly tied into 52 minutes. From instantly discernible pianos and soaring choruses to the vitriolic might of 'Plug In Baby', Origin of Symmetry is an undeniable cornerstone in Muse's career.Ībsolution's dominion over not just all other Muse albums, but also over most of its contemporaries is multi-faceted. Origin of Symmetry is home to some of the best material the band have ever put their name to. The kind of riffs that ricochet not just through your ears but your entire body.Īs an aside, it's easy to bypass the fact that Muse's second album includes the hands-down best cover of Nina Simone's 'Feeling Good', which is a testament to the strength of the songs that lie either side of it. Nevertheless, Muse managed to not only dodge both possibilities with their second album, but transcend into a realm where Origin of Symmetry had a new meaning, and it's one that's conducive to near-flawless, blood-pumping guitar music. Granted, 12 tracks linked by a title rooted in theoretical physics should be either a complete snore or monumentally incomprehensible. But the plump melodies of 'Starlight' and 'Supermassive Black Hole' mixed in with the bombastic magnificence of the likes of 'Knights of Cydonia' make Black Holes and Revelations the rare gem of a political record that goes beyond preaching and tin foil hats.Ģ. It's hardly a warm welcome, with opening track 'Take A Bow' reproaching: "Corrupt, you corrupt/Bring corruption to all that you touch". Black Holes and Revelations is a murky quicksand of conspiracy theories and political attacks. Luckily for their fourth album, Muse grasped ahold of 'our hopes and expectations' and made us feel foolish for ever questioning they'd produce something less than brilliant. Their next record could have gone one of two ways - either live up to their increasing profile as one of Britain's best bands, or disappoint with a below-the-mark record. It's 2006 and Muse have their first number one album under their belt thanks to Absolution. Black Holes and Revelations (Released July 2006) It's probably the most divisive album Muse have made - whether that's a good or a bad thing. The 2nd Law is full of Matt Bellamy's favourite rallying cries to rise up against 'them', but there's also points where it all gets a bit too theatrical, and dare we say it, silly. From the quivering bass of the George Michael-inspired 'Madness' to the urgently static fizz of 'Follow Me', Muse's sixth album is evidence and/or warning of what happens when you put one of the world's most technically proficient bands in the studio and let them play with whatever they want. Nevertheless, they went there with The 2nd Law. Ahead of the release, Digital Spy takes a look back at the album's ancestors, ranking them from worst to best.Īlongside that time a frog-fronted polyphonic ringtone dominated the world, or when Taylor Swift got to number one on iTunes with 8 seconds of silence, Muse's decision to fuse Gregorian-style chants with electric guitars and dubstep is amongst the more questionable occurrences in music. Instead, we were drip-fed articles on brainwashing and psychopaths and promised something "too offensive for radio".ĭrones will be unleashed on Monday, taking its place amongst a diverse catalogue of Muse albums: from apocalyptic mantra to Queen-endorsed barminess. In true Muse style, the months leading up to their seventh album wasn't as cut and clear as a polite announcement accompanied by all the relevant information. ![]()
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