Although this writer has certainly been rubbed up the wrong way by the sometimes utterly preposterous MUSE in the past, there’s no denying that when it came to post-apocalyptic, future shock-predicting, all-out rock bombast their last album “Absolution” sure took some beating. The sheer scope of it was exploited by a stellar performance by the band at the 2004 Glastonbury Festival and – while America refused to allow them more than a cult-level look in – the shockwaves ricocheted around the UK and allowed the band to step up to stadium level in Europe.
Thus, Muse’s elevation to the global big league rests heavy on the performance of new album “Black Holes And Revelations”, so – bearing in mind they have a big-name producer (Rich Costey of Franz Ferdinand fame) and have soaked up the Dan Brown vibes by partially recording the album in a Knights Templar chapel in France – I think we can safely rule out any fluffing and lo-fi back-pedalling even before we introduce the CD to the stereo.
And, inevitably, we were right to do so. However, while the massive Wagnerian synths and essence-of-global-doom lyrics of the opening “Take A Bow” (“cast a spell on the country you run/ you will risk our lives and souls…and you will burn in Hell!” ) suggests that “Black Holes…” is liable to take its’ rightful place as simply “Absolution #2”, well that prognosis at least is holed below the waterline.
Because while “Black Holes” IS sometimes as grandiose and portentous as you always imagined it would be (try the Metal-Math Rock concoction that is “Assassin” and the kitchen-sink final titles soundtrack of “Knights Of Cydonia” for starters), there’s also definite evidence that Muse are keen to strike out for pastures new. If you don’t believe me, then try the immediacy, Abba-style piano and “Time Is Running Out”-style basslines of “Starlight” – a chart-eating stomper if ever there was – or the Depeche Mode-style resonance of the tremendous “Map Of The Problematique”.
Wade even deeper into the album’s turbulent waters and things get even more unfamiliar. Despite its’ overblown title “Supermassive Black Hole” is informed by both the sultry funkiness of Prince and a heatseeking Hendrixian riff as well as some unexpected (and welcome) electro textures. The subtle “Soldier’s Poem”, meanwhile, is very much the other side of the coin with its’ brushed drums and rippling, “Everybody Hurts”-style guitar figure. The Radiohead comparisons are all too plain, but crucially not odious, even when Matt Bellamy’s lyrics conclude with a typically Yorke-ian “there’s no justice in the world.”
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The one time it’s difficult to stifle a hearty chuckle behind your hand comes courtesy of “Exo-Politics”, allegedly about an “orchestrated alien invasion created by the New World Order,” according to a Bellamy who’s NOT off his face on Class A’s. Hurgh hurgh. Mind you, the stadium-scoffing tune which accompanies it is enough to soon having you eating your words without salt and the glorious Arabian Technicolor fanfare with Love-style trumpets on that is “City Of Delusion” is more than enough to rub said condiment into the wound just for spite.
This is a Muse record of course, so simply by dint of the fact that their ambitions are so much wider of screen than virtually everyone else’s this album will probably receive more than its’ fair share of denouncement. Crucially, though, the last thing it does is disappear up the “Black Hole” of the title, as it is heavy, focussed and every bit as enigmatic as it is epic in scope. In fact, about the only way I can see its’ mission to elevate its’ creators onto the global stage failing is if those exo-curricular aliens come along and give us a bloody good whupping in the next couple of months. Perhaps let’s not tempt providence on that one, mind.
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