Tag Archives: Muse

Dead Inside

Hey! A new Muse song dropped yesterday! It’s called “Dead Inside” and here it is! (NSFW warning – contains nudity.)

Ummm. Hmmm. It’s not my favorite? I really like the raw sound of it. But the lyrics are kind of…heavy-handedly melodramatic. WHICH I KNOW IS KIND OF MUSE’S THING. I know, I know, I know. But even this seems too oversaturated. “Dead Inside” is just so…trite for a song title. I’m just pretty let down here.

I mean, I get what the song is about. Rolling Stone calls it a “relationship horror song” which is perfect because does seem to be about an abusive or at least destructive relationship. It’s painful and horrifying when you think about what Matthew Bellamy is describing. This should really, really hit you hard. But for me…it doesn’t. Maybe in high school it would have…

Argh, okay, I’m not trying to wander into petty territory here. I’m just not feeling it. There’s nothing fresh about it. This doesn’t sound like new Muse music.

And maybe I’m just being grumpy because I know this is just a lyric video – but a naked lady thrashing around? Come on. I like the kaleidoscopic effects and that’s about it. It already had a subtle sexual vibe to it with the mirrored body parts. Something about those hands and fingers looked positively perverse in a way that was uncomfortable but satisfying. It’s not like this is a particularly novel effect to use in a video, but it reminded me of Goldfrapp’s “Strict Machine” which, it goes without saying, I like much better. Sure, you could call me a hypocrite since it features some bare-chested men (and close-ups of said chests), but the focus isn’t on that. There’s a LOT going on in “Strict Machine” and men’s bare chests are just a small part of it.

I don’t know. I’m just not impressed overall. Apparently, Muse released a lyric video several days before this called “Psycho” so I’ll have to go back and listen to that one and see if that changes how I feel about the imminence of Drones. But in the meantime? I’d rather go back and listen to some Black Holes and Revelations.


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Origin of Symmetry

I’d been trying to deny all weekend that I was heading into a Muse bender (as I like to call it), but I finally accepted it Sunday night because, well, that’s all I was listening to all weekend. I had to think about which album I was going to choose for Tuesday though, so I settled on Origin of Symmetry.

There isn’t any particular reason why. It was between this and Black Holes and Revelations, my favorite Muse album. I chose Origin because while listening to it I remembered a conversation I had with a friend of a friend. She was a devoted Muse fan and had probably been so for longer than I had (I only got really into them about a year and a half ago). Her favorite album was Origin because, in her opinion, if I’m recalling it correctly, it was Muse at their very best.

As she was such a big Muse fan, I felt her opinion was worth giving some serious consideration. While “best” is a subjective term, I had to consider why a Muse fan might feel that way. I think this isn’t necessarily Muse at their best, but at their purest. Origin feels like their “Screw it, let’s just DO it” album. It’s experimental, maybe their most experimental. I mean, they use a church pipe organ on “Megalomania!” It’s Phantom of the Opera levels of dramatic. They’re giving it 110% and you can feel it. It’s like a direct injection of unfiltered Muse into your veins, and that might be why a Muse fan would consider it their best.

It isn’t for everyone though – it certainly wasn’t at the time it came out. Apparently, Maverick, their label at the time, wanted Matthew Bellamy to ease up on his trademark falsetto and plaintive wailing. Okay, admittedly it can get a little ridiculous at times (“Micro-Cuts” anyone?) but that’s what I love about it. I love that Bellamy and his band aren’t afraid to turn it up to 11 and don’t care what anyone thinks about it. It gives me major goosebumps, and I love it when music can have that kind of effect on me.

While not my favorite, Origin is an incredible sophomore effort, and it’s definitely up there for me. Stand-out tracks for me are “Bliss,” “Hyper-Music,” “Plug In Baby,” “Futurism,” and their cover of “Feeling Good.” So almost half the album. Not bad for not even being my favorite, right? I can still say it’s really, really good. And I think it’s their excess of passion that does it for me. Too much for some? Sure, I can see that. Just right for Muse fans? Absolutely.

P.S. I may love Muse, but I really hate rock videos. The music video is a completely different medium and art form to explore – Why waste it jumping around and swaying your head with your eyes squeezed shut? Anyway, “Bliss” features the least amount of that sort of nonsense, which is why I chose it. I still can’t get over that spiked hair that was so damn popular at the turn of the millennium though. So bad, ugh.


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