Their music became more about appealing to a particular fan base than it did creating the kind of paranoid, political statements that exploded out of Absolution. They delved into even poppier terrain thereafter, offering the bouncy piano ballad ‘I Belong To You’ to New Moon and then ‘Neutron Star Collision (Love Is Forever)’ to the third installment, Eclipse. This placed Muse on the wrong side of an artistic transformation that saw them devolve from an electrifying rock band to one more concerned with expanding its influence. It worked like a charm, as the Twilight films skyrocketed in popularity with Muse’s songs tied to them at the hip. According to a 2010 NME article, the decision to soundtrack that song was an attempt by Muse to push their music in North America, where they were on the verge of becoming well-known, but were still a far cry from the rampant popularity that they enjoyed in Europe and other areas of the world. Their live shows drew massive crowds as well, and Muse basically had the entire world at its knees.Įnter ‘Supermassive Black Hole’, a single taken from their 2006 synth-rock album Black Holes and Revelations but applied to the eponymous 2008 Twilight film. Their cornerstone releases, Origin of Symmetry and Absolution, were not just fundamentally sound – featuring gorgeous and lush classical piano sections alongside complex electric guitar riffing – but they were also wildly entertaining and accessible. Prior to heavily involving themselves in these soundtracks, they were widely regarded as one of the best and most entertaining rock bands in the entire world.
#SIMULATION MUSE MOVIE#
The first movie in the series debuted in 2008 – right after the release of Black Holes and Revelations, but before its futile successor, The Resistance. That’s obviously a baseless accusation on its face, so allow me to explain. I’m still convinced that Muse’s decision to soundtrack the Twilight saga is what singularly led to their downfall. ‘Something Human’ is almost admirable in its absurdity - the lawsuit from Atomic Kitten’s ‘Whole Again’ is in the post - and if a Muse album isn’t meant to make you laugh, gasp and double-take in its ridiculousness, then we don’t wanna hear it.Review Summary: This is Muse in 2018 – take them or leave them. The highlight is ‘Get Up And Fight’, beginning with hints of tropical house (stay with us) and skipping along with confidence before throwing out the best chorus the band have written in a decade. Single ‘The Dark Side’ is a suitably groovy aside from the album’s relative lack of danceability, and by the time you’ve stopped laughing at the frankly jaw-dropping robotic intro to ‘Propaganda’, you realise you’re toe-tapping to its ‘80s-indebted verse without even realising. The chugging intro of ‘Algorithm’ is perfect for walking out to at a sold-out Wembley Stadium to, and it’s clearly been written with exactly that in mind. Take a step back from the ins and outs of the record and ‘Simulation Theory’ stands as a ridiculous, bombastic stab of maximalism from one of the world’s biggest stadium rock bands. As ever with Muse, the lyrics are little more than faux-profound empty platitudes, and nothing to scribble on your school backpack, but when the place of the band has shifted so much recently, and overblown absurdity has become their greatest asset, does it really matter? The cover looks like someone trying to recreate the poster for Drive after a few too many tokes on the devil’s lettuce the first song is called ‘Algorithm’ and insists that, yes, we should indeed be terrified of Instagram’s new non-linear layout (“Burn like a slave, churn like a cog / We are caged in simulations, algorithms evolve”) single ‘Thought Contagion’ sings of bracing for “the final solution” (!). They legitimately sang “your ass belongs to me now” on the chorus of said record’s lead single, and were as committed as ever to telling us that, yes - the government is bad.įor better or for worse, ‘Simulation Theory’ doesn’t dial back these absurdities one jot.
On 2015’s ‘Drones’ they became obsessed with… drones.
Where to begin? The days of ‘Origin Of Symmetry’, ‘Absolution’ and the Devon trio making some of the most engaging, interesting rock in the world seem but a speck in the rear-view mirror, as Matt Bellamy and co have threatened to become a parody of themselves over the last decade.
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