# 48: Muse - Black Holes & Revelations2006 - Pop/Progressive/Electronic/Latin Rock - UK One of the things I’m trying to do in this V2 is honor some of the honorable mentions by including them in the list, and this is one of ‘em, Muse’s third album, Black Holes And Revelations.
Usually the most praised albums by the fanbase are the first three records, but I’m in the vast minority, because I really prefer the latter three (I hope four, with Drones coming out soon), I think mostly because I grew up with ‘em. I actually remember when this one came out, I was 7, and so this one of the very few bands that I’ve been following for ten years.
BH&R was recorded in various studios in New York, France, Italy and England – and I have to say, the production suffers a bit in this one. It’s not that bad, but I wish it was more clean, and that the primary instruments were more upfront.
So, this album showcases some strange Muse experiments, some of these sounds are only used in this record: we have a more prominent use of synths, and some strong latin/Spanish influences – I would love to hear ‘em again someday. As always, the three guys are top notch and pretty distinguable, Matt’s voice shines through, and has some of the best performance ever, Chris rocks his bass as always, and Dominic really rocks in this one, showcasing his abilities like never before. One thing that this album lacks are riffs. Sure, there are a couple, but there’s never a WOAH riff, like there’s always been in every Muse album. I guess that’s part of experimenting, a thing that I’m grateful they do, because they’re really successful, and kind of bring prog to the masses.
The album opens with
Take A Bow, strange choice for an opener, but still, works ok. This song is how you do a build-up properly, since it’s based off of a synth pattern that repeats itself, and Matt sings lines about corruption and V-For-Vendetta kind of stuff. It’s really emotional and gives me goosebumps every time, especially the very last note. It’s sadly underrated though, unlike the next track, which is sadly overrated:
Starlight. Now, don’t get me wrong, this song is alright, I appreciate the way it’s dynamic with melodic verses and stronger choruses, but I wish people (and the band) would focus on objectively better songs, rather than a catchy tune about being loved. Not that it’s a bad song, again. Another commercial success, but a lot better in my book, is
Supermassive Black Hole. I’ve known this song for about ten years, I listen to it every single day, no joke, and it still doesn’t bore me. That’s how you pass the test of time, ladies and djents. This song features Matt’s falsetto throughout, and it really fits the song. I just wish that it was a full heavy composition, without the strange drums, but with a proper rhythm – imagine it, it would break our necks!
Map Of The Problematique is one of my least favorites, it’s bland, repetitive and flat, it doesn’t really grow in any sense. The lyrics, though are great:
"And no one think we are to blame,
why can’t we see
that when we bleed we bleed the same”These are accompanied by a great vocal line. I just wish that the music was more dynamic and creative.
Soldier’s Poem is one of the few ‘strange experiments’ in the album. This one is practically a bluesy ballad. Dom uses brushes and there’s a strong Queen influence. I don’t really dig it, but I appreciate its presence on the record; what follows is one of my favorite ballads by these guys,
Invincible. This is how you do love songs, you start with a low dynamic and gradually grow and grow until the last chorus is the most epic thing you’ll ever hear – they’ve used this technique even in Madness, and that’s what saves that song from being an ordinary pop song. So, yes, very cool track, with a very cool music video too. Up next is the heavy track
Assassin: it’s no secret that I like the heavier side of this band, and this song is no exception – with an incredible chorus and great great drum performance by Dominic (DAT drum fill before the heaviness ensues
). Again, sadly underrated, like
Exo-Politics, a catchy tune about believing in aliens and stuff. It features a cool pulsating rhythm in 4/4, a great chorus and yeah, cheesy lyrics, but what the hell, it’s so groovy that I don't care about 'em. Following with the underrated tracks,
City Of Delusion, a synth-ish bassline (reminds me of Darkshines from Origin Of Symmetry) and latin influences, with trumpets, strings and stuff. The latin stuff goes on with
Hoodoo, a strong song, with great feel and a dramatic sound. Peculiar song for Muse, I wish they’d play this live more, because the HAARP version is stunning. And there it is, one of my absolute favorites, and probably one of many people’s absolute favorites,
Knights Of Cydonia, a 2-parts country-infused galloping tune. It sets a really good vibe, and it’s heavy enough to headbang to, especially the second section (the crowd usually goes nuts during this). This could open the album really well actually, I’d swap It with Take A Bow, which could close it well also.
So, overall, this album is full of nostalgia for me, it’s not Muse’s best work objectively, but I still enjoy it a lot and there are great tunes all over. I’ll wait impatiently for Drones, but until then…
YOUR AAAAAAAAAAAAAAAAASS BELONGS TO MEEEE NOOOOWOWOW
Favorites: Take A Bow, Supermassive Black Hole, Assassin, Exo-Politics, Knights Of Cydonia