problemattic6492
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Everything posted by problemattic6492
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I think you're probably right. Unfortunately, KoC is the only song where they actually pulled it off tastefully. In KoC they managed to walk those lines between comedy and quality, and parody and originality. By contrast, a lot of TR and T2L (mostly the latter) tracks felt like cheap ripoffs of other bands, songs, and genres, and the painfully bad lyrics were justified by the excuse, "Hey, it's supposed to be silly!"
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Lol, yep! But I think the vocal delivery and even lyrics are much better here; it becomes kind of pained, haunting, and wistful.
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I actually sort of agree with this. I think Reapers, coupled with its lyric video, does the best job of helping you (well, me, at least) to viscerally feel the things that Matt is literally talking about, ie drone attacks, the attitudes of the people behind these machines. The choruses make me think of the Ride of the Valkyries scene from Apocalypse Now: That is, the attackers are in this frenzied, blissful, happy, and bloodthirsty state, which is what makes it scary - the total lack of empathy. Then you've got the outro which sort of speaks to the reality of the drone attacks when you're someone on the ground. Not so fun now, is it?
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This is actually the only track I showed off to a friend yesterday. But he has particular taste.
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I feel like a lot of people are having a kneejerk reaction along the lines of "WTF is this? Is this even a song?" Hopefully, in time, more people will come around. I think it's a wonderful song, it just might take some getting used to for some people. It's very haunting, summons up the image of a burnt out church. Matt's vocals are really on point, doing a good job of filling in baritone, tenor, and countertenor. I doubt we'll see anything Gregorian from Matt/Muse again, but it is so refreshing to see Matt experimenting with harmonies that AREN'T inspired by Queen. I'd like to see more of this kind of vocal experimentation from Matt in the future.
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I agree, I wasn't saying it was a bad thing! I actually always liked that melody, just thought the original song (Soaked) was a little half-baked overall. Really like its use here - Matt sounds great.
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Lol not to mention that 3:30 - 4:15 of The Globalist reuses the vocal melodies from Soaked. (some unnatural selection as well)
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A lot of the second half of the album leads me to think that Matt should actually try to write some musicals... No, I'm not trying to be condescending. He should takes his talents somewhere where some gaudiness might be more appreciated. Revolt, the end of Aftermath, the end of The Globalist...
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I voted Drones, because it needs the love. Really though, Drones, Reapers, and The Handler tie as my favorites.
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I want an album of Matt doing Gregorian choral music. But really, I like Drones. I'd put it behind only Reapers and The Handler (that says a lot about how I feel about the rest of the album). Listening on headphones that have gigantic headroom definitely helps. I've never been able to hear lyrics in choral music, so that's probably a good thing. In fact, this is the only song where I don't have to listen to Matt's lyrics. So that makes it way easier to listen to.
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Could someone please articulate to me what flabbergasts them so much about the title track? Seems to fit perfectly well, it's actually MORE of a song than I was expecting. We always knew it was just an outro, did we not? I expected it to be less substantial than it is. It's actually a kinda fully fleshed out Gregorian kind of deal. And it's cool to hear Matt a cappella. And there are some really nice moments in there. I certainly don't expect it ever to be played live, except maybe as just a backing track as an intro to the gig / a specific song.
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Haha very true. I was just making the point that a large chunk of the song (both beginning and end) was really just pulled from other sources.
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So, The Globalist is really not a very original piece of music... The beginning is, of course, heavily Morricone, but the entire ending is pulled straight from Elgar's Nimrod. Not sure how I feel about that.
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The Globalist's verses are almost identical to Soaked. Similar to Explorers too, but then Explorers and Soaked are similar, too.
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Yeah, haha the ending is literally just Nimrod.
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Is it bad that Drones is probably my favorite track on the album? ¯\_(ツ)_/¯
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It's EXTREMELY pop rock. Like, it could be any pop rock band you can think of. Actually, it could just be any band. Period. Including your 15 year old neighbors who are always practicing loudly in their garage down the road.
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Now that I've been listening to it more, I can see how you'd say that it sounds more like an instrument here. I do really like the oscillating falsetto bit that comes in around 2:13 and 4:10.
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I don't mean to be a downer, but I wish Matt's lyrics weren't so painfully literal. I feel like they've been getting worse, and they're the only thing that holds me back from really loving this song. As it stands, Reapers edges it out for me because at least in Reapers his vocals are distorted, and the actual words are less intrusive/important, and his voice mostly just works as an instrument. But hell, I'm not complaining THAT much. I definitely like it.
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WoW! Nice beat changes Dom, very expressive.
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The drones are coming! The drones are coming!
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I agree with your sentiment about not reading too deeply into things, especially as this is Muse... But what I said really wasn't deep or complex at all. Even the video shows the killing in the end. And remember Muse aren't producing themselves anymore. There's a reason that big riff was added there, and there's a reason it has a completely different tone than the rest of the song.
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Oh I can't really hear what they're saying either, but I can clearly make out their texture, which I wouldn't ever call anything approaching static, which is just white noise. They're very textured and nuanced, and carry clear pitches. It's a typical vocoder sound, really. Not really meant for lyrical clarity, but for texture and harmonization. It is a bit camp though, I'll agree to that. And whether or not you mind that is a bit subjective I guess. I feel like it really works in this song, with the sort of manic, amped up, ride of the valkyries-esque killing frenzy the chorus is depicting. I'll also add: When all we had were the live recordings, I wasn't really sure what to make of the outro. It felt disconnected from the rest of the song. But now that I can clearly hear the "HERE COME THE DRONES," I get it. The ridiculously poppy and upbeat chorus shows off how easy and light-hearted killing has become from behind the screen of a drone, whereas the outro is the reality of drone attacks from the perspective of someone on the ground.
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See, this I just don't understand. I have to imagine that you're not listening on anything particularly high-quality. I wouldn't describe them as static-y at all, they're very clear, and I think they really help the song along rhythmically and harmonically. Also, bonus points to Muse for something that both sounds awesome and totally works thematically.
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Reapers...drones... Great theme song for Starcraft. No? Just me? Okay.