MUSE

This album is actually subject to a long-lost review that I wrote a few months ago but the computer crashed when I was saving it so I lost it. Thus, I've finally faced up to the not-so-daunting challenge of re-writing it. The first thing to mention is that this review is somewhat different from the rest on here in that it is an album by an English band and, furthermore, an album that enjoyed not inconsiderable commercial success. So why are Muse the only new English rock band that I actually like and respect? Well, firstly, although they are much indebted to Radiohead and Jeff Buckley it is fair to say they've taken the best bits from both artists. The prog-leanings of Radiohead and the classic-rock fixation of Buckley. Quids in. Matt Bellamy is also one of the most innovative and good guitarists of recent years meaning the songs have more to them than the same old chord changes on an acoustic guitar. In fact, a guitar solo even pops up now and then, although more in the Morello-noisefest sense than any Page-esque pentatonic exercises. Thus this, their second album, is an almost great yet damningly inconsistent affair. The first half is quite simply superb. Some of the best rock music to have been recorded in this new century. Easily 9* if not 10* material. The second half, by contrast, is generic, filler-ish and downright boring in parts. The distinction is painfully noticeable. Still, the first half truly is something to get excited about (and almost represents an album in its own right) so don't despair. The opening "New Born" was one of the singles although not really an obvious choice for one given it goes on for over six minutes. It begins with a bit of rippling arpeggios on a keyboard (which permeates this album) with Bellamy in refrained form before launching into its fuzzed-up, crunching main riff. The break for what might be the chorus is also fantastic. I say "might be" as I don't think there is any strict song-writing formula to this song; hence the odd choice for single. Still, it wasn't an odd choice in that it is a brilliant song. The second song, "Bliss", was also released as a single and is a more obvious choice although I think it is probably the worst song (strictly in context) on the first half. The rippling arpeggios are a little too prominent and the guitar follows a fairly standard grunge progression with nothing too exciting or innovating going on. Still I said it was the worst in the context of the first half which means it is still a really, really good song. "Space Dementia", by contrast, is probably the most ambitious song on the album with a prog-esque epic space rock feel to it. The song also features one of Bellamy's best operatic turns for his vocals; being possessor of a set of vocal chords to all but equal Jeff Buckley's. As a song in its own right it is still a deeply melodic affair whilst still rockin' like nobody's business. The end of the song, with the epic-sounding piano chords, is a real highlight as well. "Hyper Music", by contrast, is short and snappy with some deeply misogynist lyrics. The riff is a smart one, to rival Morello's efforts (Muse being big RATM fans), and the song itself is a great one. The backing vocals are an inspired touch reminiscent of Buddy Miles' only decent contribution on Hendrix's Band of Gypsys on the song "Machine Gun". "Plug In Baby" was the first single and like "Bliss", another obvious choice in that it is overtly commercial. Again a little too commercial for my tastes although it is, of course, a great song. The riff is played so incredibly fast it is hard to believe that there are new guitarists out there who are so technically proficient. Reminiscent of, dare I say it, Eddie Van Halen. The bass riff, though, is an obvious rip-off of Air's "Sexy Boy". The final song on the first half is as ambitious as "Space Dementia", the mini rock opera "Citizen Erased". Possessor of another great riff (although similar to "Hyper Music"'s) the song changes tempo and moods wonderfully making it one of the best rock operas since the excesses of the seventies. Maybe the best song on here although all four that I've listed make convincing cases and a critic more commercially swayed than I may well think I've excluded the best two anyway. But, unfortunately, there ends an immaculate first half. Now for the second: "Micro Cuts" is generic and self-indulgent, particularly the Buckley-esque wail for the choruses. "Screenager" slows things down and thus makes the album a little more diverse although not any more interesting. "Darkshines" is also generic but is a decent-ish tune. Not horribly incomparable to the first half. The cover of Nina Simone's "Feeling Good" is actually pretty enjoyable although very faithful as well. Personally I'm not keen on covering such popular and well-known songs, although at least it marks a crossover of genre of sorts. The final track, "Megalomania", features unsubtle use of a church organ and is slow and boring. More often than not I actually turn off this album once the first half has ended. Go on, crucify me. I can take it.

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Email me at: jackfeeny@yahoo.co.uk