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| Artist: Muse
Label: Warner Bros / Wea
List Price: $15.98
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Rating:  233 reviews
Sales Rank: 454
Media: Audio CD
Discs: 1
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Dimensions (in): 5.8 x 5.1 x 0.4
MPN: 44284
UPC: 093624428428
EAN: 0093624428428
ASIN: B000FVQYYK
Release Date: July 11, 2006
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Showing reviews 6-10 of 233
 Another stage in Muse's ever-evolving collection. July 11, 2006
Cale E. Reneau (Conroe, Texas United States)
13 out of 28 found this review helpful
If I were to say I've been a Muse fan for as long as I can remember, I'd be lying. Mostly because I've liked Muse since Summer 2004 when a friend of mine first showed me "Hysteria" from the album "Absolution," and I can vividly remember 2003, 2002, and so forth. Clever introductions aside, I am really a Muse fan! Absolution and Origin of Symmetry are, in my opinion two of the greatest rock albums of all time and feature some of my favorite songs ever! Needless to say, I was really excited when I heard that the band was finally going to release a new album, titled "Black Holes and Revelations."
"Black Holes and Revelations" is a much different album as their previous efforts. For Muse fans, it's about the same as the difference between "Showbiz" and "Absolution." In other words, very different. The biggest change for this album over their past works is that "Black Holes and Revelations" is more of a politically-charged, straightforward rock album than the epic, orchestra-laden nature of "Absolution" or the catchy, power rock of "Symmetry." In that light, it could be viewed as a bit of a disappointment to many Muse fans, but it is undoubtedly sure to capture new fans along the way.
The first song on the album, "Take a Bow," is also probably the most politically-charged song, just as "Apocalypse Please" was for "Absolution". This time around, though, it's much more intense and angry than its predecessor and it doesn't take a genius to figure out who Matthew is speaking of when he belts out "Cast a spell on the country you run. You will risk all their lives and their souls." At the same time, one can't help but agree when he proclaims "Our freedom's consuming itself. What we've become, it's contrary to what we want." It's a very powerful song, and poignant for those who share his views.
The next notable song on the album is the first single, "Supermassive Black Hole," which superbly showcases Muse's range of ability. Being a danceable, rock-pop song, the track is far different from every other song on the album. That being said, it's also my favorite and I've been listening to it regularly for over a month. For Muse fans, it might be a tough sell, based off of the falsetto vocals and poppy guitar riffs, but it is by far the most accessible song on the album and is sure to win the band some new listeners. "Map of the Problamatique" seems pretty accessible as well. Though I didn't really enjoy it too much, the lingering piano in the background for some reason remind me of really cool 80s music, and that makes it somewhat bearable.
"Soldier's Poem" is another politically-themed song, but this time written from the perspective of a soldier at war (which I'm sure Matthew knows so much about!). The song really harkens back to 50s rock ballads. The Flamingos especially come to mind here, especially when Matthew sings, "There's no justice in the world and there never was." It really is a beautiful song and serves as a very nice intermission, or a break from the rock music.
"Invincible" is also a powerful song, whose military-style drum cadence helps build the song to its dramatic climax when Matthew declares "Tonight we can truly say `Together we're invincible'". The last or so of this song is beautiful, shocking, and amazing and really must be experienced to understand. My only complaint about the song is that Mathew seems to be over-singing throughout most of its 5-minutes. Despite this, it still manages to be a standout track on the album.
"Assassin" is a pretty driving rock song at the beginning, sounding surprisingly like Pantera for a while, but it eventually becomes pretty repetitive and, as a result, boring. Still, if there was a song on the album that "Origin of Symmetry" fans would enjoy, it would probably be this one, even though "Oppose and disagree. Destroy demonocracy!" is an actual lyric in the song.
The next notable track is "City of Delusion," and is arguably the most impressive song on the album in terms of musicality. Matthew pulls no stops on this song and the rest of the band follows, even adding in the string-orchestration that made "Absolution" such a fresh album. There's even an incredibly impressive trumpet solo about 3/4s of the way in that makes the song even better. "Knights of Cydonia" is the last track on the album, and it features one of the coolest choruses in recent memory; a heavily vocodorized harmonic declaration of "No one's gonna take me alive! Time has come to make things right! You and I must fight for our rights! You and I must fight to survive!" Honestly, it's really a very cool way to end the album and the guitars and drums that accompany it are also incredible.
When I first listened to "Black Holes and Revelations," I was a bit disappointed. As a hardcore Muse fan, I have to say that I was expecting something much different than what I got. In a sense, I was expecting more of the same from one of my favorite bands. What I got, however, was the next evolutionary stage from a band that has evolved consistently since their inception. I should have known better, but I'm glad I gave it a few more listens. "Black Holes and Revelations" truly has some amazing songs on it, songs that could undoubtedly be considered some of the best of the year, thus far. If you're a Muse fan who can't decide whether or not to buy it, I say go for it! There's really not a whole lot to lose by purchasing this album. It is breathtaking!
Recommended for fans of Muse and anyone who really wants to be rocked!
Key Tracks:
1. "Take a Bow"
2. "Supermassive Black Hole"
3. "Soldier's Poem"
4. "Invincible"
5. "City of Delusion"
4 out of 5 Stars
 Experiment gone awry? July 29, 2006
Jason (CaLiFoRNIA)
13 out of 17 found this review helpful
I'm a fan of Muse, but this album leaves me... frankly, bored out of my wits. And, truly, I gave this confused creature so many chances to win me over; I think I've listened to it about fifteen freakin' times, just to make sure I'm not missing 'something'. Alas, my ultimate, disheartening realization is that I never found the buried treasure because, well, I don't even know if it's there.
The biggest problem for me with "Black Holes" is that it lacks the main element that'd made me a reasonably dedicated fan of Muse in the first place -- drive. 'Absolution' was an album that repeatedly -- I mean, ridiculously so -- climaxed, climaxed, and climaxed again, to the point that one felt they might be experiencing some sort of tantric, musical orgasm. Now, I do admit, the tendency of that album to go so overboard with rousing crests made it a bit obnoxious before a bit of acceptance developed on my part, but once that occured it became stupidly theatrical and unexpectedly endearing, primarily because the vocals were so passionate and the hooks cut into me until I started to get off on the pain. At any rate, it still did suffer from an exaggerated sense of a uniquely uncontrollable, impulsively overwhelming force, leaving the album's flow too disjointed to really work on the whole. This, I can only guess, is what Muse tried to combat possibly with "Black Holes", but the result (whether or not that was their real goal... probably not -- what do I know?) is so completely the opposite that it throws itself violently to the other side of the spectrum, with pretty dogged results.
I don't want to get too lengthy here but, yeah, this is essentially an album with an unhealthy, anti-climactic core. At the moment 'Hoodoo' is playing, and it possesses the traditional Muse spirit which I at once fell for. It ROCKS. Anyone who heard the last two Muse albums can attest to this -- they can ROCK, unashamedly so. Along these lines, the surrounding tracks late in the course of the album follow suit; both 'City of Delusion' (despite some nasty strings injected) and 'Knights of Cydonia' are darting pieces of excitement. The problem is -- and I'm pretty confident with this hypothesis -- is had the whole album maintained this tone, Muse would have undoubtedly been stoned for a complete lack of innovation. And, in part, I would have agreed. Unfortunately, by the same token, the results still would have been much more pleasant than what we currently have... A band stepping into some sort of uncharted territory that, in most respects, doesn't work.
'Starlight' charms initially with its childish melody, but one later finds themself deceived, as it becomes clear you're floating in an abyss of nothingness -- never would I expect such a song from the band that is so, in limbo... It just sort of sits there, not knowing where to go... so it doesn't even try. 'Suppermassive Black Hole' is different enough that it peaks interest, but the pitch of the vocals is too high, with the predictable electronics masking nothing while the Queen-esque vocal harmonies only accentuate a horrid chorus. And with both of these songs and the other failures on the disc (I sound way more harsh than I mean to... I know these guys put a lot of work into this), one fundamental flaw stands out -- the tempo is exceedingly slow. This naturally is the antithesis of the Muse I've known -- as I've already boringly gone on about -- but it really dampens the entire album, rarely letting it bloom. 'Exo-Politics' has a totally groovy guitar lick, but these guys just can't make anything standout when working at such a speed. Muse's choruses have always been simple, but the notes work melodically with the blistering pace and guitars. They still maintain some degree of likable pop sentiment here, but, hell, they just can't fill in the gaps... They can't jump the hurdle the boggled down tempo throws at them.
Ah... I do this with reviews, go on a spree and then poop myself out so I don't want to write anymore. The thing is, I don't disrespect this album one bit -- I just don't really like it. That, in itself, is worth something, but on the other hand, there is too much good stuff out there, and if I'm honest with myself I know I'll never throw the disc in with the coming years... Hence, two stars.
Will I still await their next release with hope? Yes sir.
 Muse's fourth opus July 12, 2006
A. Platt
9 out of 12 found this review helpful
There have always been very gut-level, instinctual reasons Muse hold the title of my all-time favorite band. Sure, I could write endless amounts on why I love them, but in the end, it's not an academic love. It's a bit more difficult to pinpoint.
It has something to do with the way every aspect of their music sets itself against apathy and indifference. How Matt sings every chorus like it's the most important thing we need to hear before we die. The way it's just the three of them up there on stage, creating this wall of sound so much larger than themselves. How they write music without caring if it sounds over-the-top, theatrical, pretentious, insane, at times even childish or naive. There is no "image" to risk: they have no image at all. They don't hide themselves, and they don't glory themselves. They just express, and express. And it can be euphoric, or ridiculous, or hilarious, or painful, or (many times) all of the above.
My point is this: when Muse goes about writing new music, it's usually not a question of whether or not I'll like it. It's a question that sounds more like: dear Muse, I know you've grown up a bit in that three-year absence. But how?
The answer: well, they're still nuts. Still meddling like twitchy scientists with tried-and-true rock formulas. But this time, that crazy paranoia is a bit more laced with optimism. Not settled, not at all - there's nothing "safe" about this album. Italian flamenco and synthesizers happily occupy the same space, for heaven's sake. But more mature - yes. Which is always true, with every new album. They never stop looking ahead.
A few random impressions:
"Take a Bow" was made to open their live shows. It builds and combusts more than "Butterflies and Hurricanes", which I didn't know was possible.
There is so much happening musically in "City of Delusion" your head will spin trying to keep track of it all. Arabian strings and trumpets alongside lyrics like "I will avenge and justify my reasons with your blood"? Yep, they make it work.
"Assassin" is Muse at their all-out heaviest. Rife with Queen-esque background choruses and a melody that soars just above the controlled chaos of sound, it's a glory to behold.
If Fox Mulder of the X-Files had a theme song, it would be "Exo-Politics" - possibly outting "Supermassive Black Hole" in the hook department.
"Hoodoo"'s mad piano mayhem was so unexpected I think my heart skipped a few beats.
"Invincible" is probably the most positive and upbeat song they've ever written.
And of course, what more can be said about the already-classics... "Knights of Cydonia". "Map of the Problematique".
I cannot fathom how they're going to pull off some of these tracks live, but I know it will happen, of course. Because if there's anything that beats new Muse, it's new Muse live.
For those long bouts before and after they tour your area, though, this beauty of an album will suffice. Buy and absorb.
Anticaption, Revelation, Complete & Utter Admiration August 19, 2006
Joel Kathrens (Cheney, WA USA)
9 out of 9 found this review helpful
Finallly got this one the other day and have been listening ever since. I worked myself into a frenzy by waiting a month before I actually bought it, in the meantime listening to Supermassive Black Hole only and reading countless reviews (but never listening to samples).
While I was not immediately blown away when I finally hit 'play' for the first time, I was very impressed with their musical direction. This is not Absolution pt. 2 just as that album was vastly different from both Origins Of Symmetry and Showbiz. The attitude is the same, however, and the feeling I get from listening is similar. This ability to significantly shift musical styles yet still retain the quality is an aspect to Muse's music I enjoy, and where I actually think they most closely resemble Radiohead.
Speaking of Radiohead, this should be the album that finally breaks Muse free of the constant 'sounds-like-Radiohead' criticisms... though they might be replaced by 'sounds-like-Queen' ones (which was always there, albeit more in the background). The genuine way these guys embrace the dramatic has certainly not been seen since Queen, and having the guts to take what many bands would consider huge aesthetic risks actually works significantly to their benefit.
On their new album, they manage to merge synth-pop, progressive rock, metal, flamenco guitar, classical piano, and operatic vocals into a set that is completely cohesive. It also has that 'album' quality where, listened to from start to finish, the whole is greater than the sum of its parts. There are a few tracks I don't think hold up that well individually, but manage to work within the context of the album. The tracks are as follows:
1. TAKE A BOW
This recalls Absolution's opening track, Apocalypse Please, in feeling and is built around similar synthetic arpeggios. Halfway through, it breaks into a dramatic rocker warning our leaders of dramatic things like "burning in Hell for crimes against the Earth". This track will carry you away all by itself, but is even more effective as the blasting-off-vessel that begins the ride through this album. So begins the space opera. 9/10
2. STARLIGHT
This begins the ride through space, and the view is awe-inspiringly beautiful. This track seems most like a synth-pop song on the album... very melodious and simple synth and piano, heartfelt lyrics, and a nice balance in the other instruments. Probably the most controlled song on the album, yet it still feels fresh and original. 10/10
3. SUPERMASSIVE BLACK HOLE
A little controversial among fans. When I first heard it, I double-checked whether I downloaded the right track. Yep, this was Muse. I was confused, disturbed, intrigued, and finally downright impressed. This is catchy as hell, and makes a good single. On the album, it actually feels appropriate in its spot. Lyrically, it seems to be the dark turn of events hoped against in Starlight. It feels the same musically. Darkness rearing its ugly head in all its pop-trash glory. 9/10
4. MAP OF THE PROBLEMATIQUE
The album begins to feel like a relentless assault on all the right buttons at this point. This track begins with a synth and guitar combination that recalls Enjoy The Silence. It's just enough to produce those same pleasant endorphins as Violator-era Depeche Mode without sounding like a ripoff. The song drives on in another direction anyway. Lyrically, it feels like the close of the trilogy that began with Starlight. Hope turns to Anger turns to Despair. It's dark stuff. I love it. 10/10
5. SOLDIER'S POEM
We get our first breather of the journey for a song that seems to be from the point of view of a dissenting soldier. It holds up well with other slow and melodic Muse songs, and adds some very Queen-like vocal harmonies. It's a little too short, and is one of those songs that doesn't hold up as well on its own, but fits in nicely within the album. 7.5/10
6. INVINCIBLE
This begins a trio of songs that, while not bad, do not have the freshness in ideas that elevate the rest of the album. It seems every Muse album has this section for me. All the songs usually win me over in the end, but this is my current least-favorite. It ends with a very cool riff, but until then has an anthemic feel that does not dodge the "cheesy" moniker as deftly as the rest of the songs do. It will grow on me. 6/10
7. ASSASSIN
Didn't care for it on the first listen... it's the hardest of the bunch. It's the first time I feel assaulted in an unpleasant way. I can't remember which time through the album it was, but this song finally clicked for me. It's supposed to be a little unpleasant. It's a call to arms. I'm not ready to join yet, but I can see the appeal. Could become a favorite in time, but right now it feels like it's missing something. Maybe another unique synth arrangement would help it, but I can't help thinking what's really missing right now is time and repeated listening. 7/10
8. EXO-POLITICS
Interesting song about Alien Mind Control by "Zetas In The Sky" that is really about the way that people allow the government to think for them. The result is the same. The song unfortunately feels like something that would have been a weak track on OK Computer. Musically it is competent but like the previous two tracks is bereft of the ideas that elevate the rest of this album. 7/10
9. CITY OF DELUSION
I was initially disturbed. Flamenco guitar? I realized from my experience with Supermassive Black Hole that disturbed feelings were probably a good sign so I decided to trust the band here. Glad I did because this song really brings me back into the album. It feels like an exciting and new journey again as the flamenco gives way to driving rock, and then folds the Spanish-sounding influences back in again. 8/10
10. HOODOO
Cannot understand the negative opinions I've read on this one. It beautifully blends all the different settings on the Muse-ship with the Spanish guitar of City Of Delusion and the best classical piano on the album. I don't miss the piano in the rest of the album until I hear it used so well here. Perhaps more piano could have added life to a couple of the middle tracks. This is the perfect precursor to the final epic space battle. There is much foreboding. Probably also better on the album than it would be on its own, but still... 9/10
11. KNIGHTS OF CYDONIA
This is it. One for all the marbles. And Muse wins them. Another reviewer pointed out that this song has no vocals for over two minutes. You barely notice among the horses, lasers, and just plain exciting music. I almost didn't even notice the vocals start as they are folded in just like another instrument. Then, the song breaks into a dramatic rock spectacle with three part harmony. "No One's Gonna Take Me Alive / And You And I Must Fight For Our Rights / You And I Must Fight To Survive" I believe it. I want to sing with them. I want to join their fight. I think maybe I am being overcome at this point. Then it rocks out. I almost wanted one MORE shift for the song to continue, but maybe I'm asking too much. It's already 10/10.
12. GLORIOUS
Some of you will end your journey with the final battle and miss the Glorious celebration afterward. If you feel robbed like I did, you'll go download this track so you can join the party. I've only seen it offered on iTunes as part of the album (you can't get it as a single song). Some feel Knights is the appropriate end to the album, and going out on a high note has its appeal, but I feel like this ties it up better. I haven't listened to it as much as the other tracks yet, but it is definitely worth seeking out to complete the listening experience. 8/10
The album is nearly perfect, only marred by an ever-so-slightly saggy middle that is actually pretty darn good as well. I thought nothing could beat Thom Yorke this year, but I think this is my new frontrunner for Album Of The Year. Time will tell which one holds up better. I began this review thinking I would end it by saying "Black Holes And Revelations" is a close second to "Absolution" and a worthy addition to the Muse catalog. However, I've listened a couple more times while writing this review. It's their best. Buy it if you love music.
Joel
Worthy of Praise July 16, 2006
Sor_Fingers (Boulder, CO USA)
8 out of 9 found this review helpful
Muse always impresses me. This is some of the most original, creative rock music out there on the scene today. Matt Bellamy is one of the most talented vocalists on the modern rock scene right now. He uses so many timbres and textures with his voice. The music pulls from so many different influences. While there are obvious touches of Radiohead in the music, the songs rock a lot harder than Radiohead ever does. You can hear influences of classical, latin, classic rock and industrial/techno styles. The result is an amazing product with something huge to offer.
The music is incredibly dynamic. The opening track, "Take a Bow" builds to an incredible apex of sound. The music is tinged with electronic garneshes of color. The thick arrangements are so well put together and every instrument fits into a beatiful picture. There are many great moments on this album, like the explosive drumming on "Assassin," the latin-esque trumpeting and acoustic guitar in "City of Delusion," the stunning piano work on "Hoodoo," and the breathtaking overdubbed harmonies in the epic closing track "Knights of Cydonia."
This album is quite amazing. A wonderful addition to Muse's diverse catalog of exciting music.
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