Kane Fulton

Note: This review is based upon a version of the album which may not reflect the final product

Since the release of Muse's third LP, 'Absolution' in 2003, the band really have crafted a fence for the fans to sit on. It seems the world of Musers just aren't united anymore, and 'Revelations' certainly isn't going to do anything to bring them back together.

There used to be a real 'Englishness' about Muse (Drummer Dom Howard is so very RP). They formed in Teighnmouth, Devon (Bassist Chris Wolstenholme is from Yorkshire) where they wrote songs complaining about not being given a chance by the 10,000 miserable sods residing in their town. From the offset, Muse were out to make an impression. Nobody really took much notice of their first album 'Showbiz'. For a start, it had terrible artwork (look: photoshop). Many people (wrongfully) dismissed it as nothing but an attempt at 'doing' a Radiohead. The follow up, 'Origin Of Symmetry' silenced many non-believers, mainly because it was jaw droppingly spectacular. Angry, attention grabbing songs like 'New Born' and 'Plug In Baby' found Muse developing their own sound; a raw, loud, inventive, but most of all original sound on an album that gained critical acclaim worldwide. Bellamy became known as one of the most intriguing musicians in rock music.

What Muse did with their sound on their third LP 'Absolution', was not particularly drastic, but it was enough to make many fans feel that Muse were heading into dangerous territory. The band found commercial success with the release of 'Time Is Running Out', and, naturally, many fans became pissed at having to share their rock idols with these small annoyances who thought 'Good Charlotte' were inventive musicians. Indie snobbery aside, newly recruited American producer Rich Costey was steering the (space)ship, and many feel that although the album had the odd classic like 'Stockholm Syndrome' and 'Hysteria', too much of the album was overproduced, with excessive synthesisers and electronic gimmickry. The band claimed that the album was 'stripped down and less layered'. It sounded anything but.

Naturally, the question on every Muse fans lips was where the band would go next. From the opening thirty seconds on 'Take A Bow', things aren't looking too good. Those expecting a 'New Born' style guitar riff to leap out of the speakers are going to be somewhat disappointed. The track is in a similar vein to previous album opener 'Apocalypse Please', with soft, two chord arpeggiated synth lines which gradually ascend throughout the song to a dramatic climax. Ending on such a strong finishing note, this song would've been far better off at the end of the album. Attention is not grabbed yet. Onto track two. 'Starlight' is one of the albums gems, a haunting song with a bass line similar to Yeah Yeah Yeah's 'Y-Control'. This song features one of the albums two main themes, love (the other being politics). Bellamy coo's 'Hold you in my arms, I just wanted to hold you in my arms' over tinkling triadic piano chords. If there was a song which sounded like being on holiday in space, this would be it.

Track three, 'Supermassive Black Hole' is somewhat of a departure for Muse. On the last album the band veered into dance pop territory with 'Endlessly' (with little success). Thankfully, 'Supermassive Black Hole' turns out to be one of the more refreshing songs, despite it's Britney-styled dance beats, and elfin falsetto (thisisfakediy called it 'electro sex-dwarf). It's also one of the few songs without political lyrics. 'Map Of The Problematique' is the first real point of the album that makes you sit up and pay attention. Distorted, electronic guitar stabs ring out over a 'Stockholm Syndrome' style drum pattern. 'Problematique' has a dark, paranoid and dystopian sound, sounding like a musical representation of what could possibly be Bellamys idea of the future. 'Soldiers Poem' is what 'Radio America' was for 'Up The Bracket', an acoustic breather to slow down the proceedings. It's one of the more 'Muse' tracks on the album, sounding like a cross between 'Blackout', 'Falling Away With You' and 'Shine Acoustic' but with 'Megalomania's bass style. The end harmonies are also shockingly Queen.

As much as 'Invincible' tries, it fails to go anywhere. It's merely pleasant, but for a band like Muse, pleasant shouldn't even be on the agenda. It half-wakes up at the three minute thirty mark, but considering the song's four minutes fifty long, this doesn't add a great deal to the proceedings. 'Assassin' shows early promise of being a 'Stockholm-Syndrome' style track, with some fantastic Slipknot-style drumming never previously heard from Dom Howard. Unfortunately, the chorus is a complete anti-climax to the frenetic wall of sound preceding it. 'Exo-Polotics' shows more of the Franz Ferdinand influence cited in interviews, and turns out to be one of the albums saving graces. 'Rage Against The Machine' style guitar riffs aplenty, 'Polotics' is a definite future single. However, I have one gripe with this track. I don't understand why Bellamys solos are so weak on record. The 'Small Print' solo from Absolution was, frankly, quite embarrassing, and the one here on 'Exo-Polotics' isn't much better. I have a theory that Bellamy purposes makes the solo's ordinary, so that his live solos sound better in comparison. Controversial! I've seen videos of him tapping and string bending like his fretboard was on fire. Why not on record, Bellamy?

'City Of Delusion' is in a similar vein to 'Darkshines', and dare I say it also sounds similar to something off 'First Impressions of Earth' (Bellamy told NME last year that the new songs were heavily influenced by The Strokes'). The strangely titled 'Hoodoo' is anything but riveting, only waking up around the two minute mark. Thankfully, 'Knights Of Cydonia' soon arrives. At this point I'm not sure whether it's a good thing or a bad thing that we're on the albums final track. I was excited about hearing this song, as I'd had the live version of it on repeat for weeks and weeks. Unfortunately, Costey has wiped his mits all over the studio version, which sounds dumbed down and tamer than it does live. The intro vocals are drowned out by static guitars, and the previously brilliant middle eight, which has only vox and synthesiser, now sounds comedic with Bellamys ultra-high pitched voice squealing over the mix. We know you can sing to the frequency that dogs can barely hear Matt, you don't have to prove it. This doesn't detract too much from 'Knights' brilliance however, and it is still one of the best songs on 'Revelations' next to 'Map of The Problematique'. I'll be sticking with the live version though, thanks.

You've probably guessed what I think Muse should do next. Yes, I think they should dump Rich Costey and go and fetch John Leckie back. Muse have developed a new sound that is part old Muse and part new Muse. Unfortunately, very few of the 'new' Muse songs sound very good. In many parts, the album is overproduced and messy, with too many things going on at once. In contrast, other parts of the album are simply dull and go on for too long. There is little middle ground here. The success to Origin of Symmetry was it's diversity. There was a wealth of heavy rock, piano, dance, and even metal in equal measure. It didn't try to be too epic, which you feel 'Revelations' often does.

Perhaps after listening to this album for a few more weeks my opinions may alter, but for now, 'Revelations' simply sounds fine. The thing is, fine just isn't good enough for a band I have worshipped for five years. I'm off to listen to 'Give Me A Wall' again.

Roll on the B-Sides!

Note #2: This album WILL be re-reviewed around 3rd July :)

Advanced-Copy Rating:

7/10

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