Thursday, June 29, 2006

Black Holes and Revelations.

What happens when a band exudes awesomeness on a large scale then disappears for almost two years? They come back and knock your socks off again (why did you even bother to put them back knew this would happen, right?). I’ve just listened to the new Muse album, Black Holes and Revelations, in its entirety since it’s streaming on MySpace. And I’m in awe. They’ve stuck to their signature sound on this one. Matthew Bellamy still sings with long, drawn out, and highly robust vocals, and in some instances, the music mirrors that of the last album they released, Absolution.

There are many things going on for your ears to enjoy over the course of this record. This is why I love Muse...they can sound distinctive, but cover a multiplicity of sounds from one song to the next, and Black Holes is a definite testament to that fact. Three tracks toward the beginning immediately popped out at me as sure winners. On "Starlight," you have clean drumbeats and keys with a tune that lightens a mood. I also loved "Supermassive Black Hole," because it sounds really sexy and reminds me of a Lenny Kravitz-like guitar, only it has a dance beat to go with that I really think DJs are going to cream over. My other favorite is "Map of the Problematic" because it has a feel to it that might be compared to New Order and older Depeche Mode in the way the music sounds, because if you’ve ever listened to Muse, then you know Bellamy rocks the high-pitched vocals rather than a baritone.

With a strong use of cymbals in some areas, and really potent strings in others, this album gives me a visual. I’m going to try and describe it. It’s like that ray of light that shines down into a pitch black hole (maybe that’s where the album name came from?), making you think that some higher power is lifting your soul. Muse is the higher power, and they’re successfully showing you that the bland crap played on the radio is so far beneath them that you need to be rescued, and they’re just the guys to do it.

You can catch them August 6 at the Tabernacle, but be prepared to pay out the ass since Ticketmaster is in charge. As you can tell, I am not happy about this. But I’ll still be there. The album hits stores on July 11th in the US, unless you happen to be in the UK, because then you can get it on July 3rd.
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