s3ker
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Everything posted by s3ker
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me_irl
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Right when I was ready to give up on this album cycle... When the band discussed influences for the record, I always imagined something a lot more like this. The vocal harmonies, the progressions and melodies... Its muse's old-school sense of melody wrapped in the 80s stuff and the synth wave outrun stuff. I like it a lot, and much much more than the other singles.actually,strongest muse single in quite a while, imo. Ofc, I'm now fully expecting this to be amongst the top 2 of the album, and I'm mentally preparing for the rest to be bollocks.
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Weird seeing this as I was rediscovering this album today. Funny enough, while Octavarium is held in high regard among muse fans (myself included), I remember a lot of the hardcore DT fanbase (especially musicians) sorta trashing it when it was released. Bar some of the monster tracks like the title one, I remember all the complaining about the riffy/hooky/power chord nature of a good chunk of it. I still love those songs, even though they start to feel a little dated now (a lot of heavy stuff from that period seems to be meeting the same fate). Some Muse fans might also enjoy the follow up one, which was still quite riffy, but dark in a different way than Octavarium was. Then Portnoy jumped out of the boat and I lost interest. Jeez, that was kinda long ago. Anyhow, the DNA of that record really comes from muse. As a dumb teen I actually found it before any muse album, and only much later I would find that there was this deliberate inspiration. Finally made it click for me as to why I was so inclined to Octavarium, while only being mild towards a lot of what was regarded as classical DT. Oh as for the new Muse single... Refusing to get hyped for this album cycle. This sounds promising, so I'm fully expecting to be underwhelmed.
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My feelings as well, after a few days. Not to say the song couldn't still have been layered and synth-y. I just don't like the approach, and the somewhat generic arrangement almost seems to betray the songwritting that really is very good (needing something human vs. The blend of Top40 trendy arrangements). Maybe it'll grow on me, but for now I'll just look forward to the acoustic version which I'm sure I will find really enjoyable.
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Amen.
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Maybe it's a bit extreme. But just the choices for all the songs so far have been a step in the wrong direction,for me. TC is passable, imo, but I'm just not expecting good things coming from this release. Just the thought of buying a ticket and then stand there and hear this tune live
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This, so much. Surprised at the overall positive reactions floating around. I was excited when I heard the IG clip, but this is just a Top40 track with a little muse sprinkled on top. RIP this album cycle.
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Sample is the studio version. This acoustic thing is just to create a little hype around the tune and finally fulfill the bringing out the acoustic decade long prophecy. Doubt we'll ever hear him have a go at it acoustically again though. Which is a shame, a full version would be nice
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Same! But in general, I thought this was pretty good. Ive been pessimistic but this album might have some surprises.
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Yeah I find it hard to believe, and that persons reasoning didn't seem very solid either. Seems to be the only one claiming those things, too. Doesn't even make sense, if they were going to replace anything in TaB it would be the last chunk with the high chest notes (as matt sometimes struggles with them), not the start.
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Thank god. Also, I saw a post on /r/Muse claiming that the vocal track for the globalist and the beginning of take a bow were replaced with the studio vocal tracks. Is this bollocks? Seems crazy to me to jump over touching/over dubbing straight to studio tracks. I couldn't go but I hope they release it digitally, would like to take a peek.
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Question to you fine people who went: was that weird filter you could see in the YT clips on the whole film?
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Ouch. Guess that explains why he does both of those in falsetto now.
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Radiohead did something cool with it.
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Sounds awful.
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Yes! I get its bouncy and all, but out of that entire album, how is Psycho the one song that gets played? Possibly the lowest effort of the whole record... Edit: oh right, Mercy is in the set too. Still... Also, it's amazing how well Showbiz aged.
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Definitely! One of Muse's best pop rock efforts. It's a shame it didn't do as well as other singles like Madness or Starlight, but I guess that can't be helped as it is less accessible, kind of. But it's definitely up there for me. Also one of the few songs in which Matt sounds 100% sincere in the vocal delivery, I've always felt it was a very powerful tune.
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Thanks for the replies, I had similar opinions to you guys but was curious to see what others thought
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Do you reckon Matt had a hard time recording those parts in the studio, or would he only struggle with it in the context of a longer performance (as in a gig)? Do you imagine Matt lowers keys/avoid playing particular songs purely to avoid vocal fatigue, or is it possibly a part of his range that he can't access consistently/at all times? Sorry if these are dumb questions, but I'd be keen on hearing what you think about that
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It has been growing on me, for sure. I think what I appreciate the most is the way they blended the genres in a way that is very much theirs. Despite some of the most clear influences or incorporation of specific trends, the song as a whole has a very particular vibe/direction. And even if perhaps it lacks depth as a consequence of being evidently tailored to be a single, I actually think it's a really interesting choice given how much it would/will stand out in comparison to much of the stuff I hear on the radio. I guess Dig Down felt awfully derivative to me. With Thought Contagion, despite fan reaction to the song's quality itself, it makes me think that the band are stil hungry to try out different things, expanding their range and throwing out there their interpretation of where music is at, in the present moment. These days I think that's what keeps me interested in Muse, and I'm glad they still have that. I also appreciate the irony of a lot of people disliking the song but recognising how it got stuck in their heads
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Fair enough, I don't really keep up with that stuff. I guess i'm just a little tired of hearing that everywhere
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Quite off putting on the first listen, but as I relisten I'm taking a liking to it. People seem to complain mostly about the Woahs in the chorus but I actually feel like those do a nice job of building up the dynamics in the song (although I agree it seems too high in the mix in relation to Matt's lead vocals). I don't think I'll warm up to the verses though. I've never been a fan of the way Matt has to approach this kind of register/melody/flow, somehow it doesn't sound it comes naturally to him. He kinda gets away with it, but it sounds forced to me. I love the you've been bitten by pre-chorus though with that piano coming in. I think it's a great contrast to the claustrophobic vibe of the tune, it was the first thing to seriously grab my attention in the song. The final solution line is just appalling, seems to reinforce my (possibly incorrect) belief that the band are surrounded by too many "yes men". Obviously the term is not off-limits, and I detest the intellectual PC going on right now, but it's just really weird and tone-deaf. Lyrically, the tune continues Matt's trend of saying a load of things without really conveying anything, which is a shame. Totally agree with this. In the last few cycles Muse have tried loads of stuff, but recurrently they would end up mocking up something that was almost a caricature of a certain genre/artist. I don't hate this tune, and I don't love it. But I do recognize that this is actually an interesting attempt at assimilating their diverse influences and a few modern trends into Muse's trademark vibes. Poppy as it is, I think it's also kinda daring as single material. I also appreciate that this song isn't really jumping on some trend that was already dying down 2 years ago, unlike DD. But I wonder though, is the hi hat triplet/sixtuplet thing still relevant in hip hop right now?
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So much of this. That puzzles me, to this day. Also less than a year later, that bass sounds is so...blergh. I guess it was already very 2012 when it came out.
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I loved The Globalist live, actually. It might have helped that I had sitting tix, so I could take the whole thing in. That moment was definitely the best showcase of their setup, with the Handler as a close second. I know the song faces a lot of criticism around these parts, but tt's definitely a highlight of the album for me.
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Well, to each their own I guess