Limited Edition vinyl LP pressing of the 2006 release by this British rock trio, who finally achieved international stardom with their 2003 album, Absolution. 11 tracks including the single ‘Supermassive Black Hole’.
|Take A Bow||4:35|
|Supermassive Black Hole||3:30|
|Map Of The Problematique||4:18|
|City Of Delusion||4:48|
|Knights Of Cydonia||6:07|
Over the course of their first three studio albums Muse slowly gained ground as one of the more progressive and accomplished rock bands of the 2000s. By the time of 2006’s BLACK HOLES AND REVELATIONS, the process was complete. While still steeped in moody Britpop, wall-of-guitar rock, and space-synth soundscapes, BLACK HOLES finds Muse diversifying their already broad palette and creating one of their most ambitious efforts. The tune “Supermassive Black Hole” is a case in point. A club-ready funk groove underpins the crunching guitars, proving Muse as capable of moving the body as expanding the mind. Elsewhere, the band experiments with flamenco-flavored guitars and mariachi horns amid their dense waves of guitars and electronics, while lead singer Matt Bellamy sings of apocalyptic themes, environmental degradation, and revolution. The effect, sonically and otherwise, is expansive and powerful, and the successful conflation of dance-rock, prog-rock, and hard rock underscore Muse’s knack for fearlessly pushing several buttons at once.
Naysayers listen up: Muse refuses to be the “next” Radiohead. Since forming in 1997, the alternative rock trio has continuously battled comparisons to the famed Oxford group while ambitiously creating a sound of its own, mixing elements of glam, pop, and symphonic music into a rock hybrid. British fans have praised the group for years, despite Americans taking until Absolution to discover Muse and give them their rightful props. Whether or not you championed the grand dramatics of Absolution, Muse is a solid, unique band and Black Holes and Revelations defines those strengths with a passion. Rich Costey joins Muse in the co-production of this 11-song set; together, they create the band’s most realized and meticulous album to date. “Take a Bow” sets the scene by layering full rock orchestration with waves of synthesizers and percussion, all of it building up to vocalist/guitarist Matthew Bellamy’s aching performance of a world torn apart by its own instability. Though frequently compared to Queen’s Freddie Mercury and Thom Yorke, Bellamy comes into his own as a vocalist here. He, drummer Dominic Howard, and bassist Chris Wolstenholme pull equal weight throughout, and Muse sounds like a complete band on Black Holes and Revelations. The sultry, swaggering “Supermassive Black Hole” and the razor-edged paranoiac “Assassin” are prime examples of how adamant Muse is about delivering the biggest rock & roll package possible, while “Starlight” proves they write a radio-worthy anthem without jeopardizing their own ethics. Bellamy howls “You and I must fight for our rights/You and I must fight to survive” during the riotous, Rush-like megalomania of “Knights of Cydonia,” and it’s true — they’ve totally fought for their craft on this one. It may have taken four albums for Americans to get with the program, but with Black Holes and Revelations, the whole world should be watching.