Spectrum IV
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Everything posted by Spectrum IV
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Economics in one post.
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They will slowly fade to white as s/he gains more experience.
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And when Reapers first appeared in bootleg form, most people thought it was shit. I want to present some opinions in a different context. Muse have around five main styles: 1. Excessive wank 2. Brooding alternative angst 3. Raging bouts of pop indulgence 4. Gentler, slow-burning ballads 5. The occasional weird experiment Drones has some of my favourites in a few of these categories. Reapers is probably the best OTT song they've done, and in terms of cock rock it's up there in history on its scale of sheer indulgence. Drones also has some truly incredible pop songs. Dead Inside perfects a genre they'd been working on since TR. Revolt is fucking gorgeous in its use of melody and naïveté. Mercy is pretty good too, but pales in comparison. Let's talk about category 2. For pure expressions of angst, Muse are unparalleled, but they have so much pitch-perfect seething angst in their back catalogue that it sets a high expectation for everything that follows. I would be able to forgive The Handler's reverb abuse and overlong solo if I didn't know Muse were capable of so much better. Defector is more of a weird experiment than alt-angst, it has this awesome semi-atonal progression going on that's unusual for rock. I thought the early reactions were overblown, but it's grown on me a fair bit.
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Thank you Pitchfork.
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It sounds more like an improved version of something from Showbiz. Maybe Overdue.
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I figured it out. Aftermath sounds like those random ballads on Pokemon movie soundtracks in the early 2000s.
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I'm yet to be convinced that they didn't just move that idea to the end. Which works, unlike Drones.
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Absolute ratings Reapers Dead Inside The Globalist Revolt Defector The Handler Psycho Mercy Aftermath Drones Relative ratings Reapers Dead Inside The Globalist Revolt Defector The Handler Psycho Mercy Aftermath Drones
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Is there a point to this post?
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Seriously, the fangirls seem to have disappeared. Were they killed by? -
Home is becoming a killing field There's a crosshair locked on my heart With no recourse, and there's no one behind the wheel Hellfire, you're wiping me out Killed by... Drones Killed by... Drones Killed by... You rule with lies and deceit And the world is on your side You've got the CIA babe (You can run but you're never gonna hide) (You can run but you're never gonna never gonna) And all you've done is brutalise (You can run but you're never gonna hide) x2 War, war just moved up a gear I don't think I can handle the truth I'm just a pawn, and we're all expendable Incidentally electronically erased By your... Drones Killed by... Drones Killed by... You kill by remote control And the world is on your side You've got Reapers and Hawks, babe (You can run but you're never gonna hide) (You can run but you're never gonna never gonna) Now I am radicalised (You can run but you're never gonna hide) x2 Drones [guitar solo] (You can run but you're never gonna hide) (You can run but you're never gonna never gonna) (You can run but you're never gonna hide) x2 You rule with lies and deceit And the world is on your side You've got the CIA, babe And all you've done is brutalise You kill by remote control (You can run but you're never gonna hide) (You can run but you're never gonna never gonna) And the world is on your side (You can run but you're never gonna hide) x2 You've got Reapers and Hawks, babe (You can run but you're never gonna hide) (You can run but you're never gonna never gonna) Now I am radicalised (You can run but you're never gonna hide) x2 [bass solo] Here come the drones Here come the drones Here come the drones (Follow the yellow brick road)
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I remember someone saying Reapers rehashes the live ending to PIB. Really it's about as valid a complaint as comparing the Reapers outro to Freedom.
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While I despise 1D, credit where it's due: staying together and relevant as a boy band for 5 years is a huge feat.
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Kane, Jimmy.
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I find both are necessary for lasting appeal. Musical depth is what keeps the song interesting, and without it the result is often forgettable, generic. Emotional depth is what keeps the song relatable, and without it the result is often sterile, lifeless (TR had this problem for me).
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Can we ban Tjet for bringing the word 'subjective' into the thread? There needs to be a mixture of both. The first thing I ever heard out of this band was the bassline to Hysteria, and it blew my mind. B&H made me decide to become a pianist. Complexity is interesting, it's a universal way to grab and keep your attention. Emotional appeal is also necessary, but also fickle, prone to familiarity. I've spent so much time listening to Muse over the years that I can get into most of their songs quite easily, but Matt has to meet me half-way with a message I can relate to. It's easily the most complex and ambitious thing they've ever done. You've likely been desensitised to the peculiarities of their music through repeated listening.
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This is going to hell in a handbasket real fast.
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Not sure how you found that conclusion, nothing about the album's main concept is apocalyptic. That's why The Globalist is described as retelling the story with a disastrous ending. The part where an apocalypse occurs sounds apocalyptic. Yes.
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You be careful. My mum was ecstatic.
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I've seen Guiding Light more than Map. What do I win?
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television Live at Japanese TV show "Music station" today
Spectrum IV replied to Claudia O's topic in Muse In the Media
Guessing they didn't find out until after the announcement. It wouldn't surprise me if bands turned up to a performance with their gear and were told "nope just mime it rofl" -
B&H was so good in Sydney
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I changed my mind. They need to do some dirty glitchy electro stuff.
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ITT: revolting
