Black Holes and Revelations | 
| Artist: Muse
Label: Warner Bros / Wea
List Price: $15.98
Buy New: $9.00
You Save: $6.98 (44%)
New (44) Used (16) from $8.49
Rating:  227 reviews
Sales Rank: 468
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.1
Dimensions (in): 5.8 x 5.1 x 0.4
MPN: 44284
UPC: 093624428428
EAN: 0093624428428
ASIN: B000FVQYYK
Release Date: July 11, 2006
Availability: Usually ships in 1-2 business days
Condition: Got this as a gift. Mom wants me to clean my room.
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| Tracks:
| • | Take A Bow | | • | Starlight | | • | Supermassive Black Hole | | • | Map Of The Problematique | | • | Soldier's Poem | | • | Invincible | | • | Assassin | | • | Exo-Politics | | • | City Of Delusion | | • | Hoodoo | | • | Knights Of Cydonia |
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| Editorial Reviews:
Amazon.com
Sounding like the confident, ambitious superstars they already are in their native UK, Muse follows up their breakthrough Absolution with an album that tempers the trio's unabashed grandiosity and apocalyptic obsessions with a smart pop groove. The minimalist angst of the opening "Take A Bow" may bridge the goth-pop conceits of the collection's successful predecessor, but those expectations are quickly kicked aside by "Starlight"'s synth-pop bliss, the falsettoed, space-disco thump of "Supermassive Black Hole" and the chilly, New Wave redux sheen of "Map of the Problematic"; so much for being held hostage to those early Radiohead comparisons. Indeed, on the lilting "Soldier's Poem" vocalist Matthew Bellamy cannily channels Freddie Mercury while "Assassin" pulses with the familiar metallic nerve and lyrical dread of Muse past. But by the time "Knights of Cydonia" erupts in a wrenching, melodramatic climax that somehow fuses ELP, Davie Allan, Procul Harum and Chris Isaak with enough giddy abandon to suspend disbelief, Muse have long since proved their case as genre-be-damned rock world-beaters. --Jerry McCulley
Album Description
In 2004, U.K. favorite Muse broke through in the U.S. with Absolution and major performances across America that won legions of new fans. In 2006, Muse takes a bold new step with Black Holes And Revelations, a powerful, upbeat epic album that takes the band's music to a whole dimension. Once again co-produced by Rich Costey (Rage Against The Machine, Audioslave), Muse incorporates influences from electronica and Prince to pure pop. The album is sure to be a revelation to those still unfamiliar with the 2005 Brit award winner for Best Live Act who headlines this summer's Reading and Leeds festivals.
Album Description
In 2004, U.K. favorite Muse broke through in the U.S. with Absolution and major performances across America that won legions of new fans. In 2006, Muse takes a bold new step with Black Holes And Revelations, a powerful, upbeat epic album that takes the band's music to a whole dimension. Once again co-produced by Rich Costey (Rage Against The Machine, Audioslave), Muse incorporates influences from electronica and Prince to pure pop. The album is sure to be a revelation to those still unfamiliar with the 2005 Brit award winner for Best Live Act who headlines this summer's Reading and Leeds festivals. Limited Edition: The added DVD features their headlining show at the Glastonbury festival. Artwork for the regular and limited edition was designed by Storm Thorgerson (Pink Floyd & Led Zeppelin).
Album Details
The Fourth Studio Album, Includes the Japan Only Bonus Track "Glorious".
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| Customer Reviews: Read 222 more reviews...
 British Ingenuity July 20, 2006
Mr D. (Cave Creek, Az United States)
98 out of 111 found this review helpful
If you are wondering if Muse's fourth studio album - Black Holes and Revelations is good, let me assure you, it is not only good, it's bloody well GREAT.
I thank my son for turning me on to Muse. Honestly, they are about the only thing musically that we have agreed upon recently. We used to have some common likes in the nineties but both traveled different roads in Y2K, he going the Hip Hop route and I heading to Europe for a dose of Femme and Symphonic Metal.
Muse of course, is neither, although they are European (UK). In the case of Black Holes and Revelations, their music is so wildly varied it defies labeling. From the angelic, harpy sounding, bombastic lead song - "Take a Bow," to the catchy rock song with piano and a strong beat - "Starlight," to the funky bass driven sound and high pitched falsetto vocal of Matt Bellamy - "Supermassive Black Hole," one might suspect they were listening to three separate bands.
Following songs like the complex, involved - "Map of the Problematique," the short but sweet slow ballad - "Soldier's Poem," the spacey Floydish slow paced, building toward a crescendo - "Invincible," to the speedy guitar driven - "Assassin," would only reinforce the feeling of different bands playing different music but sharing the same lead singer.
"Exo-Politics," a medium speed, percussion led rock number, is followed by the wonderfully complex flamenco sounding, "City of Delusion." The flamenco influence continues in, "Hoodoo," but is interrupted by a strong classical and operatic intrusion of piano and vocals. The last song, "Knights of Cydonia," is a kaleidoscope of interesting sounds and Queenesque vocal harmonies, set to a galloping beat. It is close, but this gets my vote for best song.
Song Track List
1. Take A Bow (4:35)
2. Starlight (3:59)
3. Supermassive Black Hole (3:29)
4. Map of the Problematique (4:18)
5. Soldier's Poem (2:08)
6. Invincible (5:00)
7. Assassin (3:31)
8. Exo-Politics (3:53)
9. City Of Delusion (4:48)
10. Hoodoo (3:43)
11. Knights Of Cydonia (6:06)
Band Members
* Matthew Bellamy - guitar/vocals
* Chris Wolstenholme - bass
* Dominic Howard - drums
Conclusion
It took four long years for the band to come up with a follow-up to there hit album, Absolution, but the wait was worth it. In my estimation, they not only equaled Absolution with Black Holes and Revelations but eclipsed it.
When listening to Muse I cannot help but make comparisons to the mega band of the eighties and nineties - Queen. Yes, there are definite similarities to that wondrous band: diverse, eclectic song writing, ranging from the simplistic to the grandiose; style and delivery are in many cases similar to Queen; composition and arrangements also resemble Queen and lastly their vocals and harmonizing again, remind me of Queen. Yet, with all the similarities they are so different. Yes they remind me of Queen but I didn't say the sound like Queen. Maybe a little here and there but overall, they're Muse.
Until now my favorite Muse album was Origin of Symmetry. I doubt whether I will get Black Holes and Revelations out of my Cd player for awhile. It's not the kind of album that gets old very fast - five stars.
You will burn July 19, 2006
E. A Solinas (MD USA)
52 out of 59 found this review helpful
Muse broke out internationally with their stellar third album "Absolution," after two albums of just-as-good-but-not-well-known work.
Now they've returned with "Black Holes and Revelations," a simmering symphonic rock tapestry that expands their sound into darker territory. It's also more electronic in nature, but the core of the band still lies in their magnificent, haunting rock'n'roll and classical arrangements.
It opens with a rippling keyboard melody, which blooms out into a soaring guitar melody and lots of blippy electronica. That feeling only grows as Matthew Bellamy starts to sing of death, damnation, and corruption. "You behold/And beholden for all that you've done/And spin/Cast a spell/Cast a spell on the country you run/And risk/You will risk/You will risk all their lives and their souls..." Political? Sounds like it.
Muse heads towards more pleasant territory in the bittersweet, yearning "Starlight," as well as soft mournful balladry, and wistful pop that blossoms out into spare, sizzling electro-rock. Bellamy shows the beauty in the bleakness when he sings, "During the struggle/They will pull us down... Let's use this chance/To turn things around/And tonight/We can truly say/Together we're invincible."
But the heart of Muse is still in rock'n'roll, like Led Zeppelin fronted by Beethoven. They still specialize in walls of embroidered sound, like elaborate rock tapestries. They play symphonic rock that sweeps all over the board, explosive bass-laden rockers, and fast-paced violin rock that ends with a whisper.
Muse hasn't abandoned their sound in order to go mainstream, even after making it big on this side of the pond. Their music is still dark, lacking in hope, and meditates on wastelands, glaciers and how "There's no justice in the world/And there never was." In case you were wondering, this is not fun music.
Don't be worried about the electronica. Muse only really goes dancy on one song: the twisted love song "Supermassive," which has a hypnotic dark beat. The rest of the time, it's just another instrument in the mix. Alongside the typical rock instruments, Muse adds in cascading piano and violins, as well as a glorious trumpet and some gypsyish acoustic guitar.
Matt Bellamy has that soaring, angsty voice that would sound emo if it weren't so powerful. As it is, his pipes are strong enough to soar over the complex hard-rock, but can also drop down to a soft ballad. "You'll have to set us free/Watch our souls fade away/Let our bodies crumble away/Don't be afraid/I will take the cold for you..."
Muse score another win in their dark, powerful fourth album, full of spacey electronica and sweeping hard rock. A must-listen for 2006.
Needles worries about the "new sound" of Muse... July 15, 2006
Borjan Komarica (Zagreb, Croatia)
19 out of 27 found this review helpful
Needles worries about the "new sound" of Muse...
So here it is - a new album from the band which continues to boldly go where no band has gone before - space opera rock. Upon hearing the first single "Supermassive Black Hole" I was a bit skeptical since it really sounded different than anything they had done - and hearing it out of context (without listening to the album's opening two tracks) - I was really worried what happened to one of my favorite bands.
Needlessly, as it turns out - this is the sound of a progressive band who knows what needs to be trimmed and what enhances their unique sound.
So, let's do it by the numbers (since everyone can connect to that)...
1. Take A Bow 10/10 - opening track sounds a bit like "Butterflies and Hurricanes" and serves its purpose of introducing the album.
2. Starlight 10/10 - driving guitar riffs with strong piano chords that sound very familiar. On par with "Space Dementia"...
3. Supermassive Black Hole 9/10 - a bit weird track, but in context of the album it does exactly what "Time is Running Out" did for "Absolution". It changes and breaks up the tempo, so that you don't forget they like to experiment and surprise you a bit. Odd fallseto from Matt, but it's the only track on the album where he sings like that (and all the more surprising choice for the first single - probably because of the phenonmenal title and a joke they played on their fans)...
4. Map Of The Problematique 10/10 - another driving song with disco rhythms in Muse fashion. Really good!!!
5. Soldier's Poem 8/10 - a slow song which (probably) deals with the war in Iraq. Fits in nicely
6. Invincible 9/10 - mid-tempo track that starts slowly but picks up the tempo as it goes along with crazy guitar solos and brooding bass lines.
7. Assassin 10/10 - "over the top" (if that is possible) track that's this albums "Hysteria". Unusual, but nice vocal harmonies.
8. Exo Politics 10/10 - this track would get 10 out of 10 just for the title! Extra-terrestrial politics. It's Asimov's collected works in one song! Actual goose-bumps flow over me on the guitar riffs and refrains...
9. City Of Delusion 10/10 - flamenco guitars! Trumpets! Latin rhythms! Mid-eastern melody on keyboards! Matt's vocals in full range! If someone can pull that lunatic mix off - it's Muse!
10. Hoodoo 9/10 - begins with flamenco rhythms (continuing on the City Of Delusion), then drops the tempo to a slow pace with violins and Matt's vocals only, just to pick it up to a crescendo and slows it down again, so we can...
11. Knights Of Cydonia 12/10 - ...introduce the best track on the album and a fitting finale to one of the best albums of the year (if not THE best). Galloping rhythms and keyboards, acoustic and electric guitars, and then the greatest sing-along since Queen's heyday. It's really the way to end the album and is one of the best tracks I've ever heard. Oh, and it's full 6:00 minutes long so you really can enjoy it like the space opera it was meant to be...
Please, please, please DON'T listen to the "traditionalists" and "perfectionists" which will try to tell you that Muse sold "its soul". They just cannot comprehend that the bands evolve - like nature, like people, like Universe - and that's exactly what boys from Muse have done.
Best album of 2006 so far July 11, 2006
Blue Gardener
16 out of 18 found this review helpful
I looked forward to the release of this album with great expectations, and my expectations were fully met. Muse's fourth CD seems to slightly outshine the band's previous album Absolution, but comes a bit short of the spectacular albums Origin of Symmetry and Showbiz. Still, Black Holes & Revelations should satisfy any loyal Muse fans out there with its catchy hard rock jams and heartfelt softer pieces. As usual there are plenty of neat musical patterns to enjoy, with electronic voices in "Supermassive Black Hole", mystic synthesizers in "Take A Bow", and low-toned throbs in "Knights of Cydonia". Like Muse's prior albums, Black Holes & Revelations gives the impression of a variety-filled performance which overall almost seems like a musical drama coming right out of the CD player, and with each song having a significantly different sound the music constantly succeeds in holding your attention. The first four songs are probably the most appealing, though the last song, "Knights of Cydonia", is definitely one of Muse's best for its use of horse sounds, synthesized rhythms, and catchy main line when three different sounding recordings of Matt Bellamy's voice are played on top of each other for a very neat-sounding end result. "Map of the Problematique" cleverly uses an electronic guitar pattern to set the rhythm for a great hard rock melody, and is reminiscent of my favorite Muse song "Citizen Erased" from the Origin of Symmetry album. The very first song "Take A Bow" sounds like something you might find off Absolution, using the fast-paced synthesizers evident in "Apocalypse Please" and "Hysteria" towards the beginning, but veering into an electric guitar slam in the middle which makes it one of the best tracks on the CD. Then there is the great song "Supermassive Black Hole", which is a hit I believe and reasonably so, for it has superb guitar riffs and Matt Bellamy uses a tone of voice which almost sounds like Beck, who I am also a big fan of. Muse has never really made a song like this one, whose use of whispers, electronically produced voices, and different tone of voice for Matt Bellamy produces an almost completely different sound for the band which is just as good as a typical Muse single. Overall, Black Holes & Revelations is an outstanding album which is necessary for any fan of Muse to own, and for that matter any fan of rock. Fans of Keane who have a hard rock side also would likely appreciate this album also, especially for the song "Starlight" where the melody and vocals sound a lot like something Keane would come up with. As for the DVD, it has a cool design and the live performances are somewhat interesting. The best portion of the DVD is the "Extras" section, where you can find live performances of songs not on any main Muse album.I would give this album a full five star rating and very much think it is the best CD to come out yet this year, though The Strokes and Three Days Grace have recently released awesome albums as well. Don't delay to purchase this CD, it's an amazing album!
Is it change, or evolution? December 19, 2006
Jeff Hodges (Denton, TX United States)
15 out of 15 found this review helpful
It's always a troubling issue when your "new favorite band" changes their sound. However, this issue is much less troubling than the potential release of carbon copy work based on the tunes that initially endeared them to you. Whether a band can navigate this delicate issue is a testament to their talent and vision. For example, Oasis was never able to recover from the sonic delicatessen that was "What's the Story, Morning Glory?" and despite the greatness of that album, their fame ended up being of the infamous "fifteen-minute" variety. On "Black Holes and Revelations," Muse's made a decisive yet subtle sonic shift, and one that is not as pervasive as some critics would have you think.
Thanks to reviews, I had mentally prepared myself for this possible shift in Muse's sound long before I bought the album. I expected the worst, but in the end, "Black Holes and Revelations" hardly turned out to be the major change of direction that some critics have made it out to be. Admittedly, there is a little more use of the "studio as an instrument," which challenges the "liveness" of the album. "Black Holes" prominently features trumpets, orchestras, and drum machines that confront my visualization of Muse's ability to reproduce these songs in a "power trio" format.
However, this initially unfounded criticism quickly gave way to the indisputable fact of the raw talent and vision of Muse as a whole. The songs on "Black Holes and Revelations" exude the same raw intensity and passion that "Absolution" exhibited. While there is a little more "studio" window dressing, the voices of the musicians in the group are strong and confident. The compelling mix of Jeff Buckley, Radiohead, and Rush that I perceived on "Absolution" is still perceptible, sometimes additionally tempered by a little Prince, Beck, and maybe even more recent work by Adrian Belew.
Admittedly, I get a personal kick out of comparing Rush to Muse, since there really aren't many bands that I can in indulge in doing so. In all honesty, "Rush-ness" is just a small component of their sound, but one that is an old friend of mine. In the case of "Black Holes and Revelations," this element of their sound brings to mind "Power Windows," when Rush began to fully integrate the synthetic nature of the studio in their sound. This perception is undoubtedly influenced by Muse's use of subjectively inspirational text and orchestral sounds on my personal fav "City of Delusion," a tune that reminds me strongly (and nostalgically) of Rush's "Marathon." However, I would stop short of saying that this influence is direct.
The Lowdown: I can't seem to take "Black Holes and Revelations" out of my CD player, no matter how many times I spin it. While it may be a little more overtly political in its lyric approach than its predecessor, it is still a musically strong and relevant statement. It may not quite beat out "Absolution" as my favorite Muse album, but I somehow would feel wrong if I gave it any less than five stars. In fact, it may be my personal "album of the year," a title that is only contested by Mew's "And the Glass Handed Kites," an album that Muse's fans will most likely dig.
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