It's the album's eurotrashiest and best song.
#Muse black holes and revelations album art movie
"Map of the Problematiqué" is the chest-thumping espionage movie chase-scene cut that beverage mogul and dope-ass party thrower Moby tried to make with his Bourne Identity theme song "Extreme Ways". But damned if Muse aren't going to cause an earthquake with every downstroke. Drummer Dominic Howard fills the wide gaps between guitar chords and plodding downbeats with flailing triplet rolls, the still-going arpeggio snapping everything neatly to grid. When, after a few false starts and nearly three minutes, the curtain finally lifts, there isn't much to see- just an ominous two-note bassline and flares of upper register guitar occasionally harmonizing with Bellamy's wallpapery vocal. But on the stereo, lacking the colossal volume of amp towers, the song fizzles.Ī celestial arpeggio opens the track "Baba O'Riley" style, while singer Matthew Bellamy yawns something indecipherable in his best and brittlest Yorke yowl. I've also never seen Muse live, but after hearing opener "Take a Bow", I wouldn't discount the claim: It's the kind of song that could level an arena. I've heard a number of people refer to Muse as The Best Live Band in the World- even a few who aren't British (just Anglophiles).
Somehow Muse, always loveably lame, have managed to take a turn for the lamer. Black Holes and Revelations is the band's fourth album*,* and if you thought by now they'd be getting tired of purveying the same old closet-geek space jams (or at least of critics accusing them of pillaging Radiohead), you'd be wrong: This is the band's most autopiloted effort yet, a hacked-up last-gen rehash of said space jams, only now with greater emphasis on glitz and glam.
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