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Clunge

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Clunge last won the day on May 12

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About Clunge

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  • Birthday 06/12/1989

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  1. I'd rather any other Showbiz track now after Shepherd's Bush and Royal Albert Hall. Muscle Museum at Wembley pliz.
  2. Muse will come on in the evening and it will finish past bedtime.
  3. I love the new drill sergeant. Plus, it sounds like they're playing Psycho a few BPM up which is great for the song's momentum. I reckon they could speed it up a touch more too.
  4. Post-Abso, I'd say I've been to a whole bunch of Muse shows, or concerts. Pre-Abso, they came across as gigs. It's hard really to communicate exactly what I mean, but when I got into Muse circa 2001/2002, and then really started taking an interest in them as a live band circa 2003/2004, it was the virtuosity that blew me away. Three guys bound onto the stage, a few screens, plenty of lights, and then just created the most astonishing amount of noise for three people (yes, I accept, there were a few backing tracks here and there). But the tones, the intensity of the performances, the songs (I'm always, at heart, going to be about OoS/Abso), the fact my first Muse gig was in 2004, and so on, that era just stands out to me above all else. It was the making of Muse, it was when they broke through, it's when they became a top tier act. Watching that transition between 2003 and 2005 was really exciting for someone who'd just got into them. I also think that era had the best performances of many of their songs - certainly songs like Stockholm, Hysteria, Citizen Erased, Muscle Museum, maybe New Born, although after it becoming dull as hell 2006-2011 (Reading was a rollocker), I think there have been some great more modern performances of it. Some others though I do think progressed well after Abso - B&H has sounded great in many different forms, Bliss has kept evolving, Showbiz keeps coming back strong, as does Dead Star. Idk. My fandom is rooted in that era, but as Jobby says, it obviously wasn't perfect and I appreciate the band has changed a bunch since then. This performance always stood out to me - Muse should have been the big draw at the BRITS that year, but The Darkness broke through and got all the glam and glory. Muse were reduced to just one song with basically no production. But it sounded HUGE.
  5. I think set ordering doesn’t help either. Muse have historically rotated their sets to a greater or lesser extent, but they don’t just flip it on its head every few shows like Radiohead. I know production plays a part in this, but just about every decision Muse have made on playing live in the past 15 years has conspired to make their shows feel less live. That for me is the biggest single disappointment. Simply jumbling up the set (while maintaining a bit of logic and structure) 7/8 times during the tour would make a big difference.
  6. Couldn't agree more with a lot of that. I can just about predict EVERY song these days because of the first guitar stab, the fuzz, the key of any intro noodling, the style of it, etc. I've not been GENUINELY surprised at a day-to-day Muse gig for years now. Things like Shepherd's Bush and Download don't really count because we knew they were going to be one offs.
  7. Revisited the whole album tonight for the first time for a good few months and I was quite surprised by quite a few things. First and foremost, I enjoyed album as a whole far more than I recall having done a while ago. Even the tracks I previously really have struggled to stomach like Thought Contagion and Dig Down (note: I still think TC is pretty damn horrible for a whole bunch of reasons). Instead though, it was songs like Something Human and Get Up And Fight that really stood out for me - Something Human in particular, especially the acoustic version, is a really sweet song. GUAF meanwhile is just fine. Absolutely fine. I don't think I'll ever truly warm to those saccharine yelps in the intro and post-choruses but the song itself is sound. I find Pressure a touch dull, and the marching band version is absolutely vile. I can't stress just how much I hate the additional focus on the brass and that piped crowd noise. Just the worst. I stand by the alt version of Algorithm being vastly inferior to the album version, although that said, it's really not that strong a song - I like it, but it definitely suffered from the hype machine like Supremacy did. It really couldn't ever live up to the song I built it up to be in my head. Dig Down is a funny bugger. I genuinely do really like the gospel version, but tonight, I definitely didn't grimace at the straight up album version. It washed over me rather than irritating me. I can't say whether that's good or bad. The Dark Side grows and grows and grows on me, and the alt version is the pick of the alternative versions for me - the HCM treatment works a charm. I love both versions of Propaganda, but the aspects of the song emphasised in the acoustic version I think I prefer overall. I just love how ridiculous the album version is. Break It To Me is immense, album and remix. Blockades remains completely forgettable, and The Void - argh, it's odd. I should love it, but it leaves me cold. The second verse starting 1:08 is masterful in the same way the second verse of The Handler is brilliant, just one of those passages where they threw everything at it and it works. But I do now find the end quite dissatisfying. The break at 3:17 kills the flow and then just when it sounds like they might just save it, those piano tinkles at 3:30 build to nothing and the song peters out completely. It's a dud ending when it could have been so much for. It ends up sounding like they couldn't be arsed to finish it off properly. It's that difference between the studio version of Take A Bow, with the fade, and the live version with the BAM-BAM-BAM-BAM finale. The piano version addresses some of the issues it must be said, although I'd rather have a full piano version along the lines of the acoustic version with a full band backing in the style of Ruled By Secrecy or Hoodoo. Bleh. It's another bag of all sorts. Just like the last three or four albums, some of it is absolutely exceptional, bits of it feel half arsed or just plainly half finished, some passages sound like experimentation / variety purely for the sake of it rather than having been done with any artistic merit or thought, and some bits are just downright offensive to the ear. I would just say though that NONE of it gets even remotely close to any of the high points on Drones. Dead Inside remains one of my all-time favourite Muse songs and easily their most successful foray into any kind of electronic-rock-pop crossover (well, apart from Map), while The Handler and Reapers still stand out proud.
  8. Quick skim round Twitter, looks like Propaganda again tonight - no sign of any rotations yet.
  9. That's perhaps the most self-aware thing Matt's come up with in the past 15 years - and I get it, I really do. Even if the past FIVE Muse albums have deviated further and further from the band I loved in 2001-2005. Hey ho. I'm pretty sanguine about it these days - every album delivers 3/4 more songs I love, and ST is no different really.
  10. So this set, how can we fix it? This is how with minimal changes: Algorithm (Alt. Reality) [Drill Sergeant] + Psycho Pressure Break It To Me Uprising Propaganda Plug In Baby [Pray] The Dark Side Supermassive Black Hole Interlude + Hysteria Map Of The Problematique Dig Down (Gospel) [Interstitial] [Houston Jam] Dead Inside Starlight Time Is Running Out Bliss (Ext.) Take A Bow / Knights Of Cydonia ----- Algorithm Medley Knights Of Cydonia / Take A Bow It could definitely do with a few more songs so maybe split the medley out into three full songs (Dead Star / New Born / Stockholm / Assassin / Handler, etc) and do that as it's own encore with some riffs and then come back for Algorithm and TaB/Knights.
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