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Everything posted by frozenbanana

  1. Not only that - I only realised after listening to Elgar's Nimrod properly just how much they managed to fuck that up. You wouldn't think it were possible to use it and not retain some sense of awe or emotion from it - just see the brilliant stuff Hans Zimmer did with it in Dunkirk, for example - but boy oh boy did Muse manage it
  2. Bloody hell It's not like the alternative is better though... if you had to choose, would you rather they were blatantly ripping off artwork from other people, or commissioning shite like the T2L Brain Scan or the Drones cover (Man Controls Man using Giant Sausage)? (don't even get me started on this as well: )
  3. Aside from an improvement in lyrics, which is almost certainly never going to happen, I hope any backing instrumentation on TC doesn't sound like it was done on fucking GarageBand. Those 3rd verse strings and extra drums on DD really are atrocious.
  4. Just popping in to say TaB was fucking awesome as per, and Matt can still sing it, and even if he can't they should still just play it anyway, because they should always play it.
  5. I still can't believe that actually happened. Didn't get a ticket and didn't watch the stream at the time, but watching it back now and it's utterly mental. Can they just tour that setlist for a while?
  6. Part of the reason Muse's recent setlists have been so annoying is because they did go through that period of fantastic setlists within this past album cycle, especially Charrues, the Gloria and Rock Werchter. CE, Micro Cuts, Uno, The Groove, AP and SS were all sharing setlists with TiRO, PiB, Madness etc - they really nailed the balance in terms of pleasing hardcore fans and casuals. It pisses me off how they found that great formula and then went 'no, that's not right, we need to trim all the super rare old songs out', so you fast forward a year to Benicassim 2016 etc. and the setlists are average at best and shite at worst.
  7. Listened to the gig in the background while doing some work, actually enjoyed it far more than I thought I would. Some takeaways - more synth in Bliss and Knights was a welcome addition (thought Knights sounded really, really good). The synth has also been turned up in SS' chorus, which is great too (can turn it up even higher tho imho) - no surprise that it rocked as per. IS sounds so weird going into SS, as it does with The Handler. Mercy still sucks. Matt's phrasing on some of the songs (e.g. The Globalist) was weird - can he not sustain notes that aren't belting notes any more? Anyway, yeah, pas mal at all. EDIT: also was so not expecting that Drones --> Uprising transition... thought the audio on my computer was broken. Kinda works? Though do prefer how they did it last year when the song would get to the "Amen" at the end and Matt would bring in this huge feedbacked Drop D chord to coincide with the "...-MEN". Then Psycho and Reapers would kick off.
  8. Now is the time for Glorious2k17
  9. Someone saying "fuck off" to people doesn't necessarily mean he/she is angry or upset (or maybe I've just been brought up in a household that swears far too much...). I'll moderate my language next time though!
  10. Wouldn't really say that post was "so upset". Baffled and mildly indignant though, I'll grant you that. Mm.. I'd argue the first half of Hoodoo was good on that front. But since then, yeah, I'd agree with you that the subtlety has completely gone (but that still doesn't qualify the band as "shit-slinging apes", by the way) Coldplay really aren't better these days than Muse, their last album was properly dreadful from front to back. If Drones is a 4 or 5/10, A Head Full of Dreams is a 1 or a 2/10. They're still great live, but that's by virtue of their earlier songs like Yellow and Clocks, and the fact that they chuck more pyrotechnics into each show than London's average New Year's Eve fireworks celebration
  11. It could be worse, Muse could be Coldplay. And tbh I think Radiohead are a bit of an exception to the general trend for British bands in the 90s/00s, which is that they put out a few good albums and then struggle to match those ever again. Oasis, Kaiser Chiefs, Kasabian, Franz Ferdinand... even Arctic Monkeys to an extent (though AM and SIAS have their great moments). And in the USA it's the same for bands such as RHCP, The Strokes, The Killers... Also, seriously, shit-slinging apes? Fuck off all of you. None of you were saying rubbish like that on the day they put out The Handler. Just because the next 6 songs they put out were less than great doesn't suddenly diminish the quality of that song. Or Reapers. Or Dead Inside. Yes, the albums have undoubtedly seriously regressed in quality, but the way some of you choose to talk about Muse is ridiculous. It's just a band, for crying out loud.
  12. That run of songs in the middle, wow. Stunned that NKoK and Munich Jam are both there. And yeah, Minimum makes so much sense to play live if they do have to do 2 breaks (maybe Matt shits himself during DI when he hits the big notes these days?). All in all I'd pay... £4.00 ish to see that setlist played live? Something like that anyway.
  13. It's quite sad in retrospect that SMBH probably felt like a big 'fuck you and goodbye' to the Muse of OOS and Absolution (and was treated as such by a lot of fans) at the time, but as Muse pop-ish chart material goes, it's far heavier (and a far better song) than most of what has come since. It's still their most accomplished crossover song imho. EDIT: oh, and Turner's lyrics are a bit overrated, and AM is MASSIVELY overrated - a third of the album is just the same song played at different speeds with tiny melody variations (One for the Road, Knee Socks, Arabella, WYOCMWYH)
  14. frozenbanana

    Dig Down

    Each to their own lol - it's totally the other way round in my opinion. BH&R gets all silly when you get to Exo-Politics and (especially) City of Delusion, with its huge choruses and film-score strings (and silly lyrics and a repetitive melody). And how is Knights of Cydonia - which is great - not right at the 'limit' of epicness?
  15. This is one of the problems for me, yeah. Apart from the gospel vibe towards the end (which I completely understand if other people don't feel) there's nothing new here at all. I've had very low expectations of Muse since The 2nd Law came out, and especially since the 2nd half of Drones was released. Is that a bad thing? It means I'm less likely to get all down about it when they don't match the quality of Absolution / BH&R (and I'm pretty sure they never will, by the way). And I'm totally fine with that. I don't know how that can reflect badly on me - or can mean you should feel sorry for me.
  16. Oh come on guys, it's not dreadful. It's already way better than Aftermath, Resistance and Follow Me imho, though that is admittedly not great praise. A bit predictable in places (the Queen harmonies...) and not sure there's as much of a payoff as there could be. It could have been longer, with a more interesting solo and a big return to the main melody at the end, with a tonne more stuff thrown in. The DIG DOWN bit is also not great but it will probably be pretty funny live. EDIT: Have to confess I am struggling to rank it higher than any Muse singles other than those 3 at the moment
  17. Summary of what I've heard so far: Dig Down - all about faith and inner drive to succeed in hard times; lyrics blending the personal and political; there's moar percussion than usual thanks to producer Mike; Dig Down will be on the next album LP8 - Muse will (says Matt) work on one song at a time for the next album and write, record and release each one quickly - so that the mood, experiences and circumstances they are trying to capture in a song are still around when they release it (as opposed to having to wait a few months while the rest of the album is prepared); album may end up coming out after a series of songs have been released first; album may not have a coherent concept, and may be a compilation of the songs released beforehand plus a few new songs EDIT: didn't see the post above me lol. But glad I haven't misheard anything
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