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Silentgod86 last won the day on June 20

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  1. I just meant Muse in this categorisation. Maybe with the exception of the Dark side and parts of the Void, there's nothing on ST which felt like they were doing anything interesting with the synths. I think Muse do excel when they when they incorporate these elements into their own sound like in Space Dementia, Bliss, Isolated System and Map of the Problematique. Muse have always felt more interesting when they blend genres rather than chasing the zeitgeist. I really love Pressure and Break It To Me because they fuse their pop and hard guitar instincts into really catchy melodies. Opinions vary I know, and Muse can't be doing the same thing every album, but I'd like to see them work a bit harder, like write 15 or 16 songs and leave some on the cutting floor (or god forbid b-sides even!), rather than 10-11 tracks with no sense of quality control.
  2. I wouldn't mind a deeper dive into synths but considering Simulation Theory barely got past the intro to Stranger Things, I have severe doubts. Muse tend to dabble with a genre for an album but get bored of it before they even finish recording. The problem with synths is that it plays to Matt's excesses, adding layer upon layer but contributing little, which ends up with songs that are completely limp live. Synths should augment the piano and guitar pieces, not replace them.
  3. Did have a listen to the Void shortly after making that comment and it has grown on me somewhat. But one song out of three albums over 9 years is a bit disappointing considering the pedigree of the first four albums.
  4. Take a bow is ok, some bits sound like the original recording some bits you can feel the years on the voice (and that's ok). I hope it's an indication that perhaps we'll get a pure piano muse track, I'm struggling to think of anything since Exogenesis where I felt Matt was trying to do something interesting other than mess around with waveforms on a synthesiser. Would have preferred a version of Shine on Jeff's guitar or possibly Spiral Static as both those tracks have his influence at its strongest. Perhaps a full out cover could be in order for the future. But please for the love of God, stop trying to make Guiding Light a thing....
  5. I love Blackout but it is completely over the top, the same with Sing For Absolution, Stockholm Syndrome and Butterflies and Hurricanes. It worked for Absolution because the songs were strong and could carry the weight of the production. The same can be said for much of Black Holes and Revelations. A Soldier's Poem could work if it was just Matt and a piano but also works with indulgent production on the album. Completely unlike Dig Down and Something Human where the core tunes are fundamentally weak because despite his intentions, Matt is neither a Popstar or a pop tunesmith.
  6. True (though I think those ST alternates were specifically recorded for the deluxe album which is what many bands do these days), but you're ignoring the fact that if Muse's career was a venn diagram, the area of where Muse intersects with subtlety or restraint is very small. Even back around OoS, critics were ridiculing Matt's over the top hystronics for being self indulgent (not my opinion). Absolution and BHAR pretty much cemented that reputation. Drones was fairly restrained though to be fair. The problem with Muse being over indulgent in my opinion, is that they've forgotten how to make it work around a decent song and anything they've attempted post Exogenesis is unearned and trying to fill the void of poor songwriting.
  7. Considering that Muse used the more stripped down version of Algorithm for Simulation Theory, I'm not so sure that the argument of OoS Remixx sounding like what modern Muse would do, holds much water. I think much of the tracks cut out of OoS point towards what the band progressed in Absolution. Had the band another month or two in the studio, I imagine they might have gotten some the more orchestral bits to work. I think during the recording of OoS, there was a lot of emphasis on how the songs would sound live, this might be why a lot of the non-core instrument flourishes were left on the cutting room floor. Remixx is a mixed bag overall, some songs were obviously meant to be improved (PiB, Bliss, Futurism etc.) while others were meant to show off cut content regardless of overall quality of the song(Microcuts, Feeling Good, Space Dementia). It's hard to listen to Remix without contrasting with OoS which has had 20 years to burn itself into my synapses, so with the exception of Futurism I doubt Remix will become my go-to for 2001 goodness.
  8. God forbid anyone has a different opinion to you. As someone who bought the album the day it came out and pretty much shitpost on most things Muse do these days, I find the above amusing. I can't really tell if you're doing a meta joke of Citizen Erased lyrics or if you're just really stressed about something and using this as a pressure valve. I have to say I'm really happy we finally have someone who witnessed the recording of OoS to tell us what really went down and that they people who literally wrote and recorded the album are lying to us because they have a 20 year grudge against a synthesiser track. Are you really sure you're not doing a meta joke of the Citizen Erased lyrics, it would be epic if you were. Break me in, teach us to cheat And to lie, cover up What shouldn't be shared And the truth's unwinding Scraping away at my mind Please stop asking me to describe
  9. If there wasn't the word remix in the title, you might have a point. I've seen other bands re-release albums with different tracklists substituting b-sides for album tracks. There's not even a cd release of this so I don't see this an attempt to rewrite history. The original still exists as something you buy and listen to. The marketing spiel is just that, spiel. It's just another cash crab to keep the coffers from emptying out before the next album. I've lived with this album since the day it was released, so I'm happy to see the band muck about with it just as they had been when they toured it live where the songs seemed to change from gig to gig.
  10. I quite like it as s an alternative. Bass has more oopmh and the vocal layers are a lot clearer. Looking forward to hearing the rest. There's a weird arpeggio like keyboard track in the last chorus of Darkshines that gets drowned out, so I'm looking forward to see if it has been restored in this version. Not sure why some folk are throwing their toys out of the pram, the original version still exists and is commercially available. Just a shame it costs £300 to listen to the remaster because the band bundled it only with a limited supply boxset....
  11. I'm still amazed they haven't re-issued it considering its selling for £300+. They're justing leaving money on the table. Release a cd only version for £80 and everyone's happy, not just the scalpers.
  12. I for one am looking forward to hearing what genre they'll half heartedly dabble in. The last four albums they kind of set out a theme but never fully committed to them. In fairness, there's only so far you can take the idea of an album based around the Stranger Things intro. Muse were always a band born out of 90s influences, that's the kind of retro they should have went for.
  13. I'd imagine there might be some difficulty as Chris lives in the UK while Matt and Dom live in LA? This would presumably prevent the whole band jamming together until March or April at least.
  14. Glad I spent £4:50 renting this rather than spending £100+ on tickets and travel . Simulation Theory pretty much stands as an indictment on Muse's stadium tours. It just seems like more effort went into Matt's jacket design than the music itself. So many songs are now just Matt walking around stage pretending to be a popstar. Matt does really have zero stage presence when his guitar is removed. Watching Matt slap hands with the front row while being minded by his handler is just next level cringe you'd expect from your one directions of the world. The visuals here are just boring as well. When Matt finally does something cool with his guitar, the camera is more interested in the stage extras doing distracting coordinated dance moves. Also Murph looked so inanimate in this movie, I've seen a few YouTube clips where we seemed to move with more fluidity. Not sure why this is letterboxed either, a Muse show is something where you want to use the whole screen. This probably should have been 60 FPS to give a bit more motion. And I really hope they didn't spend too much money on cgi Matt Bellamy pretending to be Harry Potter taking on Murph because that looked fake and cringe as shit. And somehow they want people to fork out £120 for a package with extra tat. I can't help but think of Muse as business people rather than musicians. One enjoyable part was he video for the Void because there was no visuals, no dancers and no fucking backing tracks.
  15. Oh joy more content trapped behind a purposefully limited release £100+ package. The marketing at WB really love artificial scarcity these days. Sigh...
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