BLACK HOLES AND REVELATIONS

Upon hearing the piloting single for Black Holes and Revelations, "Supermassive Black Hole," many fans were considerably puzzled by what Muse had put forth and what they should be expecting for the rest of the album. While the band should get some credit for trying new things, the song was a bizarre Price meets Fatboy Slim experience that surely would throw anybody who had expectations off. It was different, it was fun, but was it what they wanted to hear? Not really. Concerned fans who may have gone searching for something, anything else off of the album to relieve their dismay probably came across the second single, "Knights of Cydonia," which turned out to be a six minute proggy masterpiece, definitely enough to satiate any fans need to clarify how the album was going to be. Though it too had some ideas that we haven't quite heard from them before, it retained more of the sound that fans were looking for. It went from a medium paced, western themed spacey first part (interesting combo ay?) to a super high mulity-vocal harmony (done acapella) followed by a flat-out awesome rocking end which later reintroduced the vocal line from prior on top of it which created a mesmerising end. Any skeptics could be sure that whatever it was they were doing, it was worth hearing.

So, what was the rest of the album like? Well, track one, "Take a Bow" shows the band bringing the synths to the foreground, a fresh trend throughout much of the album. They generate an entirely new atmosphere to the bands music and they are used vey effacaciously. This track is an obvious political statement and there should be no question as to who it's directed at. While I generally do not fancy those lyrics, the song itself is quite cool. Next track, "Starlight," is a very, very good pop song. Muses creativity and Bellamy's huge, extremely capable voice make what would be an ordinary song a great song here. This one is followed by "Supermassive Black Hole," which is admittedly much better when listened to among the rest of the album. Then we have another more simple song made incredible in "Map of the Problematique." From here we have Queen-esque vocal harmnized acoustic guitar balled in "Soldier's Poem," followed by the inspirational "Invincible." It is at this point that Muse really start rocking. "Assassin" is a relatively fast-paced thrashy rocker, borderline metal guitars lead this one, until Bellamy's voice takes over of course. I would have to mention that the vocals are supreme as they always have been, but the presentation and sound of the vocals, and the band as a whole has never sounded better. This album is powerful and captivating in atmosphere and in melody. "Exo-Politics" is a slower yet heavy piece. "City of Delusion" will really get you in all of its splendor. There is a hispanic feel to this one during the verses, an orchestral arrangement and even a trumpet solo. The chorus explodes with such force. This is one of the rare examples of Muse really expanding heir territory influence wise and not just improving on their firm-founded sound. Other than one part in the middle, "Hoodoo" is a very atmospheric piece, and is really the only piece on the album that we can compare them to Radiohead - an inescapable comparison up until this point. And then "Knights of Cydonia" brings this one home.

Muse have finally come into their own with this one. They can finally break free of that binding Radiohead comparison [for the most part]. These songs sound huge, and it's easily the bands best output yet. 4.5 stars

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