Ever since Supermassive Black Hole and Knights of Cydonia, Muse has been the comforting and cool part of my playlist. The almost Opera-ish voice of Matthew Bellamy, with him and Christopher Wolstenholme‘s generic to inspiring guitar-riffs. Muse made their sixth mighty comeback with new symphony-rock, heavy beats and (brace yourself) dubstep-ish flavors. Which is, luckily, not taken to the extreme. In their new album, The 21st Law.
I first came into contact with Muse’s divine tunes a bit late in their career, the younger version of myself was either knee deep in heavy rock music or being seduced by the monthly pop-hit. Unaware of their earlier work, a clinically depressed emo-wannabe noticed the mix of cleanly synced drumbeats, guitarlead and soft voice of the song Supermassive Black Hole, shouting from his bedroom TV. A new band was added to favorites.
After some further listening, I discovered the album Origin of Symmetry. Later, The Resistance and now, The 2nd Law. As with all the great bands I’ve had the luck to discover, the transition and experimentation these lyrical masters go through each album release, is as interesting (and important) as the message itself. And I think Muse has done that better than anyone else.
With the cyberpunk, melancholic and existential (but never dull) feel I associate these musicians with. Their new album The 2nd Law sure lives up to that feel, with a touch here and there, of something New and Cocky. Like in their song, Unsustainable.
A great gift from old friends, making a comeback, showing what they’ve come up with. You press repeat, while I give this album A Ten out of Ten.
It’s only quite recently I started listening to CCR, but they’ve been jammin’ in the background through my childhood. With my mother born in the 1950s, there’s occasionally been *Green River* or perhaps *I heard it through the grapevine* jammin’ in the background. With my tiny feet running back and forth on the living-room floor.
Leisurely digging through old VHS tapes and attempting to find their matching cassette. I can across an old scratchy EP, with no sleeve and its label half-thorn. Reading *Creedence Clearwater Revival – Commotion* at the front.
I grab my cheap plastic 45-adapter and place the scratched disk around it, press the button and drop the needle. After two seconds of nothing but scraping sounds, I hear the drumbeat from my woofers and, shortly after, sharp guitar plinks from the tweeters. Love at first sight.
I had to listen to these guys thouroghly and see what they are about. After bit of searching. I managed to grab all their studio work and, it might just be my childhood affection to the sound, but I really enjoyed it.
With a mix of swinging rock, smooth blues, country sound and allot of emotion. These guys won’t leave my pocket for long.
- Before You Accuse Me
- Green River
- Take It Like A Friend
- Pagan Baby
- Down On The Corner
- Good Golly Miss Molly
- Lookin’ Out My Back Door
- Bad Moon Rising
- Fortunate Son
Best concert of my life!
Coldplay @ Stockholm Stadion, 2012
According to the rumors, and very brief investigation, I have heard and read about this band. The origin of their sound is underground, and far from the mainstream. I was born to late, or perhaps in the wrong culture, to experience them first hand.
I have not had the luxury, nor the age, to experience the exiting development of punk. From underground to -semi- mainstream. Mosh pitting at the local pub, catching signed paper CD-cases, getting drunk and fucked up. Nice guys finish last.
In February of this year I discovered a new band called, Bad Religion.
From the few (six) albums I’ve managed to get my hands on, and listen to. I have to admit that I really enjoy the fast paced and soft core punk sound, that this band produces.
Underground or not, I still think the rebellious, anti-theistic, down to earth lyrics of this band will always be relevant. Stylish tempo and an honest attempt to fit the lyrical drama to it, keeps these guys on my iPhone’s flash memory. Welcome to the New Dark Ages.