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Found 27 results

  1. Here's an AZ Republic interview with Dom about working on Drones, Mutt Lange, and the new show and stage. Full article here: http://www.azcentral.com/story/entertainment/music/2015/11/27/muse-interview-drones-tour-dom-howard/76455378/
  2. Merkur.de http://www.merkur.de/kultur/rockavaria-2015-muenchen-olympiapark-muse-konzert-kritik-headliner-meta-5059271.html Augsburger Allgemeine http://www.augsburger-allgemeine.de/bayern/News-Blog-Erster-Tag-Rockavaria-Bei-Muse-war-das-Stadion-halbleer-id34223802.html
  3. With interview with Matt http://kurier.at/thema/festivalsommer/muse-droehnen-mit-drohnen-und-einsamkeit/133.531.026 Review of Drones http://www.profil.at/kultur/neue-alben-muse-downtown-boys-algiers-the-noise-tigers-5669588
  4. Hey, I'm new here and want to share an interview with Matt with you, which I recently found on the homepage of the German newspaper "Berliner Zeitung": http://www.berliner-zeitung.de/berlin/muse-am-14--juli-in-berlin-waldbuehne--es-ist-das-beste-gefuehl-ueberhaupt--,10809148,23624638.html The whole article is in German, but the translation of Google Translator seems to be quite good in my opinion. If I have enough time I'll translate it in the next days... I really like the interview, it gives some interesting and unusual answers and hey, an acoustic album sounds pretty cool! Sorry for my bad English! I'm 16 years old and just finished school and besides from school lessons I didn't have the opportunity to practise English a lot so far....but I try to improve Have fun with the interview! Cheers, Tabea
  5. Not sure if this article has been put up yet, but this was said during a press call at the World War Z premiere t'other day: Original Source: http://www.belfasttelegraph.co.uk/entertainment/music/news/muse-we-will-play-uk-gig-for-20th-29316107.html
  6. He says in this article in Dutch. http://krant.spitsnieuws.nl/spits/_main_/2013/05/29/008/article/article5_orig.html Main points: "I love to be playing Guiding Light again this tour. The audience reaction to that song is very enthousiastic. The same for Sunburn." "We played an intimate show in London a couple of weeks ago, then I noticed that it was actually pretty awkward without a big production." "Normally we choose to close with a "bigger" song, but after such a spectacle as this stadium tour, it's good to close with a quieter song (Starlight). It creates bonding in the audience." ""After playing that intimate show I've been thinking. I'd like to do a smaller club tour." It also points out that he chooses to play guitar less on some songs, to have more contact with the audience.
  7. Muse serve ‘2nd Law’ with smoke and laser in Phoenix Source by Barbara VanDenburgh This quote though
  8. From the Arizona Republic entertainment segment, 3/10/13. Bellamy of Muse on '2nd Law,' Pink Floyd By Ed Masley Link to source Matt Bellamy of Muse is what you'd call a thinking-person's rocker. He named "The 2nd Law", which hit the Billboard album charts at No. 2 in fall 2012, for the second law of thermodynamics. When the London 2010 Summer Olympics requested an official theme song, he gave them "Survival," citing similarities he sees between highly competitive sports and social Darwinism. He appears to read a lot. And yet, he also fronts one of the most successful rock sensations of the century, hailed in Rolling Stone as the Pink Floyd of their generation. As the Muse tour makes its way to Phoenix, Bellamy checked in to talk about "The 2nd Law," "Survival,", the Olympics and where Muse may go from here. Question: What appealed to you about naming the album for the second law of thermodynamics? Answer: Since a young age, I've always been asking those questions of "What's it all about? Why are we here?" And in my younger years, I was looking for spiritual things, religious things and so on. But as I got older, I've kind of become more wowed, if you like, more interested in some of the truths that science is revealing to us about how the universe functions, how the planet came to be, how evolution was able to thrive on this planet and so on. The laws of thermodynamics are basically about how energy functions and fluctuates throughout the universe. To try and understand that is to try and and understand what this all is. In the case of the second law, it's the idea that being an isolated solar system like we are, there's no new energy coming in and that energy is gradually declining. It seems like evolution and life itself is in some ways a battle against this sort of inevitable consequence of how energy functions. And I came to this idea that there's something intrinsic to life that is really contrary to the sometimes dark, cold truth of the laws of thermodynamics. So I pitched it as an album title because I kind of like things which sort of encompass a little bit of what we're all battling in our life, the shortness of life and what we have to do in it. And I just sort of used it as a keystone, if you like, when I was looking for analogies or metaphors. I would pull from the second law. So you can hear it in a few songs. Question: So you started with that concept and then wrote songs around it? I've got my interests and my life experiences as I'm putting lyrics together. And if you start looking at patterns, you start thinking, "Well, what am I really singing about here?" A lot of it seems to be a battle for some freedom against oppressive forces. That seems to be a theme in a lot of the albums I've done. I think you kind of hear that battle musically as well as lyrically. I don't think they're separate entities. In the case of the last album, that expressed itself in things like the corrupt power of the government and corporations, the usual kind of stuff. But on this album, I've taken it to a slightly more philosophical area. And that is that the human experience itself is a battle against the oppressive force of nature. Question: Do you try to make sure that there is a thematic thread to link it all together in the end when you're making an album? Answer: I'm not making full-on concept albums. But I think it's good to have some self-awareness of what the themes in your own emotions may be. It's one body of work that you do over the course of, say, six months where you're sort of writing and rehearsing, going into the studio and recording. And I think it's good for there to be some element of meaning coming out of it other than just a complete disconnected set of songs. Having said that, some of these songs are very, very different. I don't think the theme is rigid. Question: The song "Survival" was written before the Olympics asked you for a song. What made you feel like that would be the song to give them? Answer: That song has some of the themes we've been talking about: the battle of life against nature, which plays out in the form of evolution, natural selection and so on. Obviously, highly competitive sport sort of taps into the purity of what that's about. The desire to fight and to win and survive is the key driving force of evolution. So to me, I saw a very nice correlation between what the Olympics were looking for and what I was already writing about on the album. It just made sense. And that sort of had these songs about the brutality of evolution and how you sometimes have to go down to that raw survival instinct, which really is the driving force in our genes that does keep us going for thousands of years. Question: In referring to your live show, Rolling Stone said you'd become your generation's Pink Floyd. Do you see a connection? Answer: (Laughs) As an act in general we're very, very different, I think. But some acts, they go out there with the ego of saying, this is about me, and I want the spotlight on me, whereas we went out there with the mentality of I don't want any spotlight on me. It's not about me. I want to make it about this, build some crazy structure and video screen and make loads of conceptual videos. I think that's where it has something in common with Pink Floyd. Our approach to live shows has led us to use very big productions. Question: Do you think of the live show at all when you're making a record? Answer: Yeah, yeah. The last two albums, I'd say half of the material was written with knowing how it was going to be performed live, with some of even the production ideas, the lighting, the video, all that stuff. The first three or four albums, we wrote not in that way at all. But definitely the last two. Question: Well, you can afford a more extravagant production now than you could on the first couple albums. Answer: (Laughs) Exactly. Having said that, you never know. If I'm looking to the future, I think we might go back to that kind of not thinking of the live show at all and writing more for the sake of the music, playing little theaters again.
  9. http://www.latimes.com/entertainment/music/posts/la-et-ms-review-muse-staples-center-20130124,0,7595031.story I am jealous that they played Sign o' the times!
  10. http://www.ocregister.com/entertainment/muse-408815-way-yet.html I thought the setlist was fine and even though they showed up early ,0815PM start time, I was fine with getting home before 1100pm!
  11. Link On a vast sound stage in west London, a huge floating pyramid shimmering with mind-melting LED visuals inverts itself by some silent hydraulic system until it is hovering upside down over a drum kit. “It should gradually consume the band until we disappear inside,” suggests the skinny figure of guitarist Matt Bellamy, watching the first full test-run of a new stage set from the floor. “Very symbolic,” nods tall, serious bassist Chris Wolstenholme. “Oh yeah!” adds the third figure in contemporary rock’s most ambitious and exciting trio, comically cool drummer Dominic Howard. “The power of the pyramid! The strongest shape in the universe!” He chuckles uncertainly. “Isn’t it? Or is that the triangle?” The first time I met the band, promoting their debut album in 1999, the circumstances were rather different: three bedraggled young men from Teignmouth, Devon, huddled round a table after a typically frenzied gig in a dingy London club. Back then, critics tended to dismiss their highly strung rock as Radiohead-lite, but they already seemed quietly confident about their uniqueness. “We’re trying to do something which is a bit special,” Bellamy explained to me. “I don’t know if it’s fashionable. Maybe fashion will have to come to us.” Thirteen years later, Muse are superstars, viewed as potential saviours of the commercially moribund genre of rock. Their sixth album, The 2nd Law (released this week by Warner) is ascending to the top of the charts as we speak, with critics enthusing (often with a tangible air of bewilderment) about its mad sci-fi mix of prog rock, cinematic strings, pop melodies and dubstep-inflected electronica. In this giant rehearsal room, Muse are adding the final layers of hi-tech drama to their already fantastically over-the-top music. “When titles like 'world’s greatest band’ get thrown in our direction, it blows my mind,” grins Howard. “It’s an amazing feeling and it makes you want to live up to it. Somebody’s got to be the best band in the world. Why not us?” Later, in the quiet of an upstairs office, band leader Bellamy makes an eloquent case for why rock has to evolve to survive in the 21st century. “I don’t think rock is dead but the sound palette and frequency ranges are exceptionally tired. As soon as you pick up an electric guitar and plug into a distorted Marshall amplifier and someone starts playing a stadium drum kit, you are already in the Seventies. That’s why we focus so much on the sound and use orchestral and electronic elements. But the concept of what it is to be in a rock band, to create music with a group of like-minded friends that has some drive and power and meaning to it, I think that’s still got some life in it.” The son of Tornadoes guitarist George Bellamy, the Muse frontman was raised in a musical household, although by the time he was born, in 1978, his dad was in the building trade. “I suppose being in a band didn’t seem an unusual career option, so it gave me an optimistic approach. But there was never a comparison, the time and the industry was radically different. The main thing was he didn’t make any money, he was still being paid a session wage when they were number one all over the world with Telstar. I definitely learnt from that.” Now Bellamy is married to the Hollywood star Kate Hudson, their one-year-old son Bing’s foetal heartbeat is sampled on the new Muse album, and the in-laws are Goldie Hawn and Kurt Russell. “I grew up on films like Escape From New York and Stargate, so seeing Kurt around definitely gets to me every now and then,” Bellamy giggles. “But obviously I get to know these people as they really are. There is so much fun, so much laughter in that house, it’s very high energy being around them.” Despite this almost ridiculously glamorous backdrop, Bellamy comes across more like a slightly eccentric laboratory scientist than a rock god, talking fast and quiet with a nerdish enthusiasm for complex ideas, but also frequently given to giggles. “The value in human beings performing is an idea that’s gradually declining,” he ponders. “People will pay money to see someone with a laptop who’s done all the experimentation at home and pretty much just hits the space bar. There is a part of us that is definitely clinging to the organic, human side of music, to honour our friendship and the fact that we want to play together in a room. We’re not afraid to bring new elements into the equation but we’re not quite prepared to go full robot. I think we’re kind of cyborgy!” Muse songs glint with bits of familiar melody and wink with knowing references. Reviews of The 2nd Law have alluded to Queen, U2, INXS, Led Zeppelin, Prince, Michael Jackson, John Barry, Tchaikovsky, Andrew Lloyd Webber, Mike Oldfield and Skrillex, a mix-and-match approach that seems inherently of our times. “It’s neither conscious nor subconscious,” says Matt of this jackdaw sensibility. “You absorb influences and experiences and the brain mingles them together and they come out distorted – you could say that’s the nature of creativity. Our generation was the first to have the mp3 player, Napster, downloading for free, and that definitely had an impact on how we think about music. We are comfortable with multi-influences across big time spans.” The other element that lends Muse contemporary potency is a sense of purpose stemming from a willingness to engage with political ideas. This has not always manifested itself particularly coherently, with their air of fin de siècle dystopianism drawing on a paranoid well of conspiracy theories; but, at 34, Bellamy thinks he has become “more rational and empirical. I watch the news and try to gain a deeper understanding of what’s going on in the world and see if I might have something to contribute”. The band’s 2009 album The Resistance had an anti-establishment vigour that appealed across the political spectrum. The Right-wing Fox News agitator Glenn Beck has written to Bellamy to thank him “for singing words that resonate with man in his struggle to be free”. Muse, for their part, decline all requests to use their music for political causes. “I wouldn’t support any one side, because I think party politics is a hijack of democracy, the whole whipping system is terrible,” says Bellamy, who describes himself as “some kind of vaguely Left-leaning libertarian”. The 2nd Law (drawing its title from the famous law of thermodynamics that states “entropy always increases”) could certainly add fuel to both sides of the arguments about the future of mankind, with Bellamy exploring the impact of threats like the global financial crisis and climate change from different perspectives. He describes the Olympic anthem Survivor as embodying the aggressively optimistic attitude of a “raging lunatic libertarian”, while the suicidally pessimistic Animals explores “the more socialist and fearful side”. He is genuinely fascinating on this subject, drawing in the evolutionary scientist Richard Dawkins, the games theorist John Nash, political PR pioneer Edward Bernays and the 19th-century economist Henry George’s theory of land value tax. Although Muse’s music often has an air of near apocalyptic dementia, Bellamy claims he is not particularly fretful about the future. “We’re all in the same boat together. There’s two directions it can go, one is energy revolution, someone might crack nuclear fusion and we could all be living like Star Trek. The other direction is fossil fuels gradually decline, global warming kicks in, things could get ugly and all we can do is deal with it. I’d like to think we’re gonna be living on other planets in 100 years, but I’m going to be teaching my son how to farm, just in case.”
  12. http://www.guardian.co.uk/music/2012/sep/30/muse-2nd-law-tour-interview?newsfeed=true Ever since the early days of Muse, frontman Matt Bellamy and drummer Dom Howard have shared a running joke about success. Before each major concert, each step up the ladder, Bellamy turns to Howard and says: "Is this it? Have we made it yet?" Every time, the drummer shakes his head and replies: "Not yet. Nearly." Muse's unabashed hunger for megastardom is unique among British bands of the post-indie era, who tend to reject it (Radiohead), blow it (Oasis) or be pathologically humble about it (Coldplay). Muse, however, never flinch at excess. Only health and safety thwarted their plans to dangle acrobats from a helicopter over Wembley Stadium in 2007. Their forthcoming tour in support of sixth album The 2nd Law will find them playing beneath an inverted pyramid of LED screens: an upside-down version of the "all-seeing eye" beloved of conspiracy theorists. "It's turning the power structure of the world on its head," Howard says matter-of-factly. Muse have sold more than 15m albums. Their last one, 2009's The Resistance, was No 1 in 19 countries. Like Depeche Mode in the 1980s, they are taken more seriously outside their homeland, in countries where people are less likely to arch an eyebrow at songs with rococo arrangements and titles such as Exogenesis: Symphony Part 2 (Cross-Pollination). Since releasing their debut album, Showbiz, in 1999, the trio from Teignmouth, Devon have made their quixotically ambitious music a global concern by touring longer, farther and harder than anybody else. They used to say yes to everything, working themselves to exhaustion and becoming, says Howard, "cynical and weird". Success has bought them a saner work-life balance. I meet Bellamy, Howard and bass-player Chris Wolstenholme separately during breaks in tour rehearsals at north London's Air Studios. When they made The Resistance each of them was living in a different country but this time they're all based in or near London, although Bellamy and Howard also have homes in Los Angeles. The singer is engaged to the actress Kate Hudson, which makes him future son-in-law to Goldie Hawn and Kurt Russell, and the couple have a one-year-old son, Bingham Hawn Bellamy, whose foetal heartbeat is sampled on the new album's dubstep-disco-U2 monster Follow Me. So by any measure 34-year-old Bellamy is a star, but he doesn't have the aura of one. His sharp features and stick-figure frame jangle with a wary, wiry intensity and he talks quickly, with many nervous giggles. If you didn't know what he did, you might assume he was a talented software programmer with a small fortune in Silicon Valley stock options. "On stage it's easy," he says. "There's something about the audience and the energy that takes you to this place. I have trouble being like that when I'm not on stage. I tend to be a bit quiet – a touch avoidant, y'know? I think you do get what you visualise. I never dreamed about being in a limo or being backstage with loads of girls. I only visualised playing very well and enjoying it." He says that seeing the attention Hudson gets "definitely puts your world into perspective". Howard reckons that family life has made the singer "slightly more relaxed, but to me he's still as manic and weird and meticulous as he's always been". Because Muse's success rests on tours and albums rather than hits and headlines, they are not quite household names, so some viewers were doubtless puzzled during the Olympics closing ceremony by the trio's performance of Survival, a berserk, operatic anthem that seemed more appropriate to a supervillain than an athlete: "I won't forgive/ The vengeance is mine/ And I won't give in/ Because I choose to thrive." Bellamy admits that the song was already written when the organisers approached him. "It was definitely a bit more demented than I think they realised," he says with pleasure. Survival makes a lot more sense in the context of The 2nd Law, an album which encompasses the global economic crisis, peak oil theory, food security, evolution, the taxation proposals of 19th-century economist Henry George and the concept of the "stress nexus". "It's talking about the second law of thermodynamics and how, as a limited ecosystem, we are on the verge of needing an energy revolution in order to sustain the way that we're living," says Bellamy. "This inner strength we have, this desire to evolve and expand and explore, I do love that about humanity. At the same time it's scary what it does on a global scale. I'm very much caught between the two." Bellamy is self-aware enough to have considered the quandary of criticising overconsumption while traversing the globe in a gas-guzzling stadium rock band. "Exactly! We're all a function of the world. I think for every finger you point out there should be three pointing back at you." You don't get this kind of stuff from the Kings of Leon, but then Muse have been putting grand ideas into their records for years now. Black Holes and Revelations, the 2006 album which broke them in the US, was in part a bilious condemnation of the architects of the Iraq war while The Resistance was an us-vs-them concept album heavily inspired by Nineteen-Eighty-Four. (They dismiss as "complete nonsense" a recent $3.5m claim that it was plagiarised from US songwriter Charles Bollfrass.) I suspect Bellamy's politics are often overlooked because (a) he has never aligned himself with a specific cause and (b) he frames them in such a blockbuster manner that people assume he's joking – which, he insists, he is not. "I don't think our records contain obvious humour," he says, a touch defensively. "We're not cracking gags." A few years ago, Bellamy's reading list was more outré. He often recommended that interviewers imbibe the wisdom of David Icke, although even he admitted the theory about the royal family being alien lizard people was a little too ripe. "I was getting very drawn into obscure conspiracy theories," he concedes. "As time's moved on I've become far more rational and empirical and I've managed to focus on slightly more realistic, tangible things." It's a wise move. Muse were taken aback when The Resistance was embraced by swivel-eyed Fox News demagogue Glenn Beck ("the lyrics are just dead-on [about] what's coming our way") and the single Uprising began soundtracking YouTube clips produced by the kind of people who believe climate change is a socialist conspiracy and Obama is an Indonesian Muslim. (Conservative attention seems to run in the family: Bellamy's father George used to play rhythm guitar in the Tornados, whose 1962 chart-topper Telstar was one of Margaret Thatcher's Desert Island Discs choices.) "In the US the conspiracy theory subculture has been hijacked by the right to try to take down people like Obama and put forward right-wing libertarianism," Bellamy agrees. He defines himself as "a left-leaning libertarian – more in the realm of Noam Chomsky. It doesn't all have to be about guns and land protection, y'know? So yeah, I do find it weird. Uprising was requested by so many politicians in America for use in their rallies and we turned them down on a regular basis." Bellamy's motives as a lyricist aren't polemical but personal, even therapeutic. "When I dabble in watching the news and reading about current events I tend to get a future negative view and that's something I've dealt with through music. It's quite possible I'm slightly paranoid." A giggle. "But I'd say making music is an expression of feelings of helplessness and lack of control that I think a lot of people can relate to." His songwriting stems from the belief that music can transform and transcend the everyday. "I remember the first classical music I heard, Berlioz and Chopin– it did something to me that I still can't put into words. It's a sense of timelessness. It's something to do with the whole condition of life and death and time. It somehow makes all those things connect." He's full of wonder when he talks about music, but laughs neurotically whenever I mention fame or ambition. "Dom's the one to speak to about ambition," he says. "I think basically the band's career is me trying to please Dom."
  13. http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10835133 A rare mention of Showbiz.
  14. From The Herald Express, my local Devon paper http://www.thisissouthdevon.co.uk/Teign-spirit-took-Muse-global-superstardom/story-12979629-detail/story.html "I'm pretty sure there will be a Muse creche backstage at most gigs," said Chris Wolstenholme, Muse bassist and Teignmouth prodigal son. In an exclusive interview with the Herald Express ahead of Reading and Leeds Festivals, Chris was speaking just a few days before bandmate Matt was to become a dad with Hollywood A-lister Kate Hudson, daughter of Goldie Hawn. "Having kids is a major part of life and, for that reason, it has always been important for me to have a happy balance between band life and family life," said Chris. "I'm sure it will be the same for Matt. I would think that touring will be a major part of life, but it's inevitable that as you get older the touring can become less intense. I'm not sure if we are quite at that stage yet, but I'm pretty sure there will be a Muse creche backstage at most gigs." The Herald Express has followed Muse throughout their career, so it seemed only fitting they should be part of the new weekly paper. The Herald Express archives show the band were listed in gig guides, playing for free at The Piazza and Parrot in Torquay, before moving up to the dizzy heights of Lanterns in Ashburton, where they were able to charge £3 in 1997. It's a world away from the sell-out, knock-your-socks off performances at the likes of Wembley and Glastonbury. Reminded of the early press cuttings, Chris said those days were a struggle. "In all honesty, being a young band in Devon was very difficult for us at that time," he said. "There was very little in the way of proper music venues so we used to play a lot in small pubs — which didn't usually go down well as we were pretty loud and most people wanted to enjoy a quiet pint. "There were quite a few battle of the bands things going on. "We weren't really that bothered about winning them. It was just an opportunity for us, and other bands, to get out there and play live." However, there were some which inspired The Teignmouth Community College trio in their formative years. This may be the first time it has been said on the record. "There are two people who were very important in the early development of the band," said Chris. "The first was Jill Bird, who was the head of music at the time we were at school. "Before Jill took over the music department, it was the usual collection of crappy Casio keyboards, tambourines and glockenspiels. "Jill completely revamped the music department and understood the importance of modern music to get young people inspired as well as embracing the history of music. "Within two years of being at Teignmouth Community college Jill had kitted out the music department with drum kits, decent keyboards, guitars and basses and some recording equipment. "She was also very good at involving people who weren't particularly musical and out of nowhere there were lots of bands and singing groups. "The other person was Dennis Smith. "Dennis is the owner of Sawmills and Dangerous Records. "We had been aware of Sawmills as it was probably the only studio in Devon and Cornwall which had produced any big records. "I remember looking at the brochure, probably some time in 1994, and thinking how great it would be to record in a place like that with a proper producer — but it was well out of the price range of three 16-year-old school kids. "In October of 1995 Dennis heard about the band and called us up to arrange coming to see us at a gig. "We happened to have a gig in Cornwall somewhere that week and he came along. Although he liked some of what we did, he told us that we had a lot of developing to do and, when he felt the time was right, he would put us in the studio for a few days to record an EP to release on his label. "Over the next two years Dennis came to almost every gig we did in Devon and Cornwall and dangled the studio carrot in front of us, which obviously inspired us to tighten up and work as hard as we could. "Some time in early 96, we had a particularly good gig at the Cavern Club in Exeter. Just as we thought that maybe all of this talk of the studio was never going to come to fruition, Dennis walked in the dressing room, obviously impressed by the gig, and told us he had set aside a week in May for us to use the studio. "That was our first experience of a proper studio and made us realise how good we could sound. "Those recordings ultimately led to us getting a record deal in the US which basically kick-started the bands career. If Dennis had not shown that belief in us so early on, and pushed us to improve, its debatable whether the band would be here today." And what a career the band have had. Half a dozen MTV and Q Awards, eight from the NME, a couple of Brits, four from Kerrang, two Grammy's and sales of albums topping 10 million. "We used to only get one award and had to take it in turns but now we always get one each as to avoid arguments" Chris said. "Most of mine are in the house but occasionally a family member will pilfer one to stick on their mantle piece." It is their live shows that have really embedded them in the hearts and minds of fans. Their HAARP Tour was recently voted as Wembley Stadium's greatest ever event and their Glastonbury set was simply something to behold. "We have never really had any routines before a performance," said Chris. "We usually just have an hour or so of extreme calm before the show. A bit like the calm before the storm. "At Wembley I basically spent two weeks being the most nervous I have ever been. Glastonbury is always quite a relaxed vibe. You get to check out the other bands and the backstage is very social. It's a really enjoyable day." Chris said whether playing in a pub or a Glastonbury, they have always tried to improve as musicians. "Its very difficult to set goals when you have basically achieved more than you set out to in the first place. "I didn't think any of us could have imagined how big the band would get. "We used to go to a lot of gigs at the Lemon Grove in Exeter University when we were younger and back then it would have been more than enough to play in front of 800 people there. "Although we were always confident in our abilities as musicians we were under no illusions that becoming successful was going to be extremely hard. So many things come into play. "Obviously the music has to be very good but a lot of it is about timing, the people you meet and having a bit of good luck along the way. The goals now are obviously very different to back then but the most important thing for us is to improve as musicians and continue to explore new things in music and become better at what we do." In 2009 the band surprised the music world and 'came home' bringing their music and spotlight to Teignmouth. The two sell out gigs brought the town to a standstill, and gave more than something back to their loyal army of fans. "It was whilst living in Teignmouth that a lot of people had asked whether the band had any plans to play in the town, but as the town had no obvious venue it never happened. It was fantastic that we managed to pull it off and its something that the town will never forget." Chris added: "The idea came up around the time we were recording the album. We didn't want to do the usual London showcase as the first gig for the album, and as it was the 10th anniversary of Showbiz, our first album, we thought it would be nice to play in our home town. "We had not played in Teignmouth since summer 1995 at The Ivy House. "It was a pretty major challenge to make the gig happen as Teignmouth had never hosted such an event. Also, there were inevitably some people who didn't want the gig to go ahead. I had to attend a meeting with the councillors, 10 days before the show, to try and get permission to hold the gigs. "We had a great turn out from fans and I think by the end of the hearing, the councillors saw that the overwhelming support for the gig meant that they couldn't really say no. "The gigs themselves were great. It was pretty strange playing a show in such familiar surroundings. There were so many faces I recognised in the crowd, it was pretty surreal. It was amazing to see the town buzzing for the week or so before the show. In all the time I had lived in Teignmouth, I had never seen it like that." While in Teignmouth the band were able to support a local cause they are passionate about. The Helen Foundation was set up in memory of friend and actress Helen Kirk. It operates across Teignbridge supporting young people's aspirations in the arts by providing school and club-based arts workshops, special awards in schools and individual bursaries. The band were able to give tickets to the foundation to auction off as well as artwork to raise cash. Since the gig Chris has moved away from Teignmouth. "I moved away just over a year ago and Matt and Dom have not lived there for the best part of 10 years but we all visit regularly because our parents and families still live there. Although Teignmouth is no longer where we live, it is still a big part of the bands history and ultimately the birth place of the band so for that reason Teignmouth will always be a big part of who we are." FROM TEIGNMOUTH TO WEMBLEY: Muse have come a long way since their days at the seaside town's community college in the 1990s (left), and were aided on their journey by music teacher Jill Bird, whose help they repaid by opening the school's performing arts centre in 1994. (inset) The band made the front page of the Herald Express in 1999 after signing a major record deal.
  15. I found this article from 2001 today... Matt Bellamy Matt Bellamy is the slight, angular, 23-year-old lead singer of the rock band Muse. He's sharing a flat in north London with a friend from his hometown of Teignmouth and the band's drummer, Dom. The flat has the air of a temporary home with only the bare necessities present and standard regulation furniture fills up the space between a piano in one corner and a computer in the other. For a flat occupied by three rock'n'roll-involved young men, it's surprisingly clean. "We've been here a couple of months," says Bellamy, who talks in a rapid monotone. "I lived in Exeter for six months and I'll probably be here for six months before hopefully moving to the States. I'm living my life in six-month chunks at the moment." Laying down roots is not on the current agenda. "If I'm in the same place for too long, I can't write anything. When things are changing, that's when the writing kicks in, whether that change be moving house, or losing a girlfriend, or making a new bunch of friends. Because that's when I get the urge of wanting to be in touch with the one thing that is constant, which is the feeling I get from making music. That's why the last album was called Origin of Symmetry - it's important to have that base when everything is in flux." Being a child of the 21st century, Bellamy has dispensed with the notion of a record collection for something far more transportable - music stored on computer. "Since Napster went, the program you need is Morpheus, which can not only download music, but films and other computer programs as well. Perhaps I shouldn't be saying this, but I've got AI and all these films that haven't come out yet downloaded on to my computer. And with songs, you download the ones you want from somebody else's machine and form your own playlist." When he's away from the computer, Bellamy uses a wristwatch-sized MP3 player to listen to music. "You plug a lead into the computer and put on the songs you want, so you can walk around with this and the quality is brilliant. It costs about £250. I'm on planes a lot and they always tell me to turn off my Walkman during take-off, but this is so small that they can't even see I've got it on. When you put these headphones on, it's absolute cut-off from the outside world. You can't hear kids crying or anything." On the little MP3 player is a catholic range of music. Along with tracks by Rage Against the Machine, Weezer, American lo-fi favourites Grandaddy and funk-rockers Primus are blues tracks by Robert Johnson and European classical excerpts. "When I was about 10 my dad played me Robert Johnson, and that was the first time I heard music that made me feel something, even though what I'm playing on piano these days isn't blues but music from European history, be it folk, classical, or flamenco. I'm into Jeff Buckley's voice a lot too, as he was one of the first male singers who made me comfortable about singing in a female range." Another favourite is the Belgian rock band Deus. "One of the best rock bands from Europe. They're too experimental for radio here so they've never made it, but they're huge in Belgium. They jump across all kinds of styles and will play anything from blues to disco in the same track. They've been around for about 10 years, and they did a tour supporting PJ Harvey in England, but apart from that, they've never had much exposure." All of this feeds into Muse's own sound - emotional, heartfelt rock popular with troubled young men. "Chris, the bass player, is into his metal, and for some reason he's also obsessed by the Beach Boys, and he's got all those outtakes of Beach Boys tracks that you can get. Dom's into percussive things like Buddy Miles and the Aphex Twin. We all like Rage Against the Machine, while I listen to a lot of classical music and the other two don't really go there. We meet in the middle of all our tastes with what we do in the band." From playing us noisy American rock on his computer, Bellamy goes to knocking out some astonishingly accomplished classical piano. "I play piano for ages because I enjoy the experience of doing it. It's always been something of an escape, if you like," he says. "Then something will come from that and there will be the start of a new song, even if at that point it's just expressing a state of mind, a feeling of loneliness or whatever. I wrote a lot of the last album on tour, so I would often find a piano backstage at a venue, and just play it all day." Occasionally, there's time for that most traditional of listening pleasures, the record. "Our producer, John Leckie, has opened me up to people like Tom Waits and Captain Beefheart, and even Jimi Hendrix who I don't think I would have listened to otherwise. After a day's session he would pull out a few records and play them in the dark. It was cool." source: http://www.guardian.co.uk/culture/2001/aug/17/artsfeatures.muse?INTCMP=SRCH
  16. This was in The Times newspaper, and to read it online I had to register with their website, so I thought I would copy it over here- Meet Muse – the world’s unlikeliest rock stars How three geeky lads from Devon took on the pop world - and won Lounging by the pool of a Sunset Strip hotel is a milksop, skinny-malink Brit tourist in bad shorts. His rodenty face sniffs the Los Angeles air, pondering food. It’s lunchtime, and he’s not long up. His spriggy hair, styled by hangover and pillow, wafts in the breeze. A fashion-backwards T-shirt hangs off his meagre shoulders. 5ft 7in in his terry-towelling socks and invisible if he turns sideways, this pasty Englishman won’t be going near the water lest one of the sunbathing LA hunks sits on him. Meet Matt Bellamy, anti-rock star. Singer and songwriter, pianist and guitarist, fond of playing the latter behind his head. Sci-fi enthusiast, conspiracy theorist. A 32-year-old former painter and decorator (“It is,” he confirms, “all about the preparation”) so concerned by the threat of impending planet-wide doom that he’s stockpiled a two-year supply of freeze-dried emergency rations. He has it stored in the cellars of his villa in Lake Como in Italy. George Clooney is a neighbour. His band, Muse, are the geeks who have inherited, if not the Earth, then at least the hearts, minds and concert-ticket money of the world’s youth. And, increasingly, the not so youthful. This month, the trio from small-town Devon (Teignmouth, pop: 14,413) also lay claim to a few hundred acres of prime rock-festival real estate: they headline the Pyramid Stage on the pivotal Saturday night at Glastonbury. It’s an auspicious moment for old schoolfriends Bellamy, drummer Dom Howard, 32, and bass player Chris Wolstenholme, 31. How will Muse, known for their concert spectaculars, top their normal shows for this special occasion? “We’re thinking we’ll get an orchestra,” says Bellamy. It’s hard to imagine this stick-thin dweeb commanding the attention of 100,000 festival-goers. But put him on a stage – ideally backed by the lasers, towers, bells, whistles and occasional acrobats that have helped Muse become one of the greatest live bands today – and Bellamy gains in stature. They say television adds 10lb to those who appear in front of the cameras. Muse’s arena and stadium shows add a good 2ft, and a grandstanding aura, to their frontman. And now that Bono’s injured back has resulted in U2 pulling out of their Friday headline slot, the leader of the pomp-rock threesome – widely regarded as the biggest British band on the planet in 2010 – is the biggest rock’n’roller at this summer’s biggest festival. Over the past year Muse have shot to the top of rock’s premier league. The Resistance, their fifth album, has sold 2.6 million copies, propelled by its lead single Uprising. They have recorded a song for the upcoming third Twilight film, making a hat-trick of soundtrack appearances in the vampire franchise. In 2007 they were the first band to perform at the new Wembley Stadium. They sold it out – twice. Muse played to 150,000 fans – and to some trapeze artists in balloons that they had anchored above the stage. In Muse’s view, if a job’s worth doing, it’s worth doing with giddy, over-the-top enthusiasm. It is, in a way, the same with Bellamy and his attempts to act like a rock star offstage. Even when he dresses in a manner he imagines befits a millionaire pop idol (which he is to Muse’s hugely passionate fanbase), he gets it a bit wrong. He and his bandmates went out to an LA bar the other night and “ended up meeting” Rod Stewart. By unhappy coincidence Bellamy was wearing exactly the same outfit as the 65-year-old: pinstriped trousers, a waistcoat and a grey suit jacket. Still, that sounds like an improvement on the trousers he wears during the week I spend with Muse in LA, at the Coachella Festival and then Mexico City: colour-flecked slacks seemingly purchased at C&A sometime in the early Eighties. And definitely an improvement on the clothes he once had to wear to the Q Awards after locking himself out of his house. “A floral shirt, a pair of red Adidas sweatpants and a weird silver hat. My summer civvies,” he recalls of the garb he wore to collect a trophy from the music magazine. “It gave the game away, actually. I’m not in a rock band at all. I’m just a pretty lame kid in funny clothes.” If you find Radiohead too cool, Coldplay too soppy and U2 a bit past it, then Muse are the stadium band for you. They are Queen meets Abba, flamboyantly cod-operatic and absurdly melodic, and so unfashionable that they are, after years of outsider status, strangely fashionable. “Tom Waits and opera music – two of my favourite live environments, where the set design is just really theatrical and interesting,” offers Bellamy, a man who performs wearing flashing plastic children’s sunglasses. His other motivation for spending a fortune on stage presentation: “Not wanting to do something the same as everyone else.” After Glastonbury, Muse are doing another world tour of stadiums. “We are making a giant pyramid with a video eyeball on top, and we’re playing inside it.” Bellamy will also be wearing a suit on which films can be played. The singer will be part guitar hero, part television. He’ll be the first performer ever to get his hands on such a suit. “Lady Gaga wants one but we’ve beaten her,” he confides proudly. Anything else? “A UFO is going to appear and give birth to an alien, over the audience’s head. I’m not joking.” Muse have headlined Glastonbury before, in 2004. But even Wolstenholme admits they weren’t sure they deserved the slot. “We didn’t know if we were ready for it. And the press were going, ‘What’s this all about? Who do they think they are?’” There’s another shadow over Muse’s last Glastonbury appearance: shortly after watching the band’s set on the Pyramid Stage, Howard’s father collapsed and died from a heart attack. “It was the best and worst day of my life in one go,” the drummer says quietly. “It’s a bit weird for me going back, really. People say, ‘You’re doing Glastonbury. It’s gonna be great, isn’t it?’ And I’m like, ‘Well, I dunno. It might be f****** s*** and I might not enjoy it.’ ” Wolstenholme remembers: “It was an extreme high and an extreme low. It’s gonna be strange going back, but maybe we need to be able to associate it with a happy memory. At the time it was probably the best gig we’d done. And unfortunately it’s not remembered for that.” Glastonbury, then, will be a challenge on many levels. Howard’s mother and sister are coming this year. “It’ll be an emotional time for the family, for sure. But, you know, music’s a great thing to do. It can provide a great deal of positivity, playing and listening to it. That’s the only reason I’m going back: to play. I don’t think I’d go back just to hang about. That’d just be a bit strange. These guys are talking about hanging around for the weekend. But I don’t think I can really do that. But playing to a load of fans is gonna be the thing that makes me go there and get through it.” Muse did not have a conventional route to success. While other bands rocketed up the middle of the rock road, Muse crawled up via the margins, doing their own thing. Failing to get noticed by the mainstream record industry, they turned to a Cornish recording studio to fund their first EPs. When they were finally signed, it was by a small record label. In hip music circles, they were derided as over-earnest West Country bumpkins making daft songs with titles like Space Dementia and Apocalypse Please. They were pale copyists of Thom Yorke and co. They were prog-rock spods and had the fruity organ solos to prove it. If you liked Muse you also played World of Warcraft and were possibly bullied. If you liked Muse you were not cool. Bellamy, Howard and Wolstenholme knew this. They were not bothered. In fact they were almost proud of being unfashionable and being able to walk down the streets largely unrecognised. But still… why were Muse so unhip? “Our music was just too weird,” says Howard with a shrug. “A lot of bands come fully formed: great first album, good songs, look cool, right attitude – they’ve got the whole thing. Whereas we were kids – from Devon! – who didn’t know any better. We were just learning step by step the whole time. We weren’t that Cool New Band. So we’ve always been on the fringes. It’s still like that.” As well as relishing their contrary-Mary position, Muse also embrace their occasional naffness. Ask Bellamy if summer 2010 feels like a golden moment in the life of this proudly off-message rock band and he replies: “Well, it’s always been sort of… beige.” The names of the school bands that the three members of Muse separately played in – Gothic Plague, Carnage Mayhem, Fixed Penalty – did not suggest future greatness. But in 1994 Bellamy, Howard and Wolstenholme came together as a trio. They were Rocket Baby Dolls and tomorrow belonged to them. Except it didn’t. Rocket Baby Dolls quickly, sensibly, changed their name to Muse. The trio decided to forgo university places in favour of staying in Teignmouth and building on their strong local following. “Then all our friends f***ed off to uni and we had no fans,” remembers Howard. “We had to start from scratch. Doing as many gigs as possible in the local area. We did that for five years.” Continued in next post...
  17. "Outrageous" comedian Frankie Boyle made a joke about Muse dying of Aids on Monday night's Never Mind the Buzzcocks. The Daily Mirror reported: He let rip about rocker Axl Rose having "type 4 career cancer" and made a jibe about the band Muse contracting Aids. He said: "Muse had their equipment wrecked by a hurricane, coincidentally minutes before the Hurricane Festival in Germany. We can only wish them all the best at next year's World Aids Day gig. They have filled more stadiums than Hurricane Katrina, but we'd all rather see them dead. " http://m.mirror.co.uk/article?a=m4:22826899&lc=11237225&ls=11237402&lo=la/ He's supposed to be a comedian and it isn't even funny
  18. FROM HERE Its profile on the rise, Muse makes first-ever stop in Oklahoma City Eric Webb October 08, 2010 Easily one of the most popular rock bands in the world today, Muse makes its Oklahoma debut tonight at Ford Center, supporting the UK act’s fifth studio album, “The Resistance.” Comprised of Matthew Bellamy, Christopher Wolstenholme and Dominic Howard, Muse is hard to pin down. Invoking elements of alternative and progressive rock, metal, jazz, electronic and classical music, the musicians aren’t afraid to wear their influences on their sleeves. Since Muse’s first album in 1999, “Showbiz,” the guys have established themselves as inventive songwriters and dynamic live performers, moving from clubs to playing some of the largest venues in the world. Wolstenholme said that while the band has embraced the idea of being considered an arena act, it wasn’t anything they ever anticipated. “When we were younger, the bands we were listening to were like Nirvana and things like that, and even though they were huge, they never did massive venues. I don’t think we ever expected to get that big. Nobody does,” he said. “We would have been quite happy playing to a thousand people every night.” Wolstenholme said touring with U2 gave Muse an idea of what stadium shows should be all about: big, spectacular performances. “I think for us, whatever venue we’re in, we’re trying to think of the most ridiculous out-there kind of production we can put in there,” he said. With the current tour, the large-scale stage show centers on three, huge towers decked with video screens. “It sounds very simple, but it’s actually quite an impressive structure when you see it. We have to get on top of these towers and go three to four meters up in the air, which is pretty scary,” Wolstenholme said. “We’ve got a great lighting guy that we’ve had with us now for 10 years who always manages to come up with something new in terms of lights and lasers and all the colorful bells and whistles that we want.” SURGE OF POPULARITY Given Muse’s recent surge in popularity in the United States, it set out on tour with the goal of hitting places like Oklahoma City and other cities it hadn’t played before. “When you go back to the same places over and over again, you’re playing to people that have already seen the band a number of times,” Wolstenholme said. “I’m not saying that those crowds are bad by any means, but we find that when you do to some of these more unusual places — places that bands wouldn’t always think about touring — you have really good crowds because they really appreciate the fact that the band made the effort to go there.” He is sometimes surprised at the diversity among the Muse fan base, especially when considering how it began. “Obviously, I think it’s great that we can appeal to a broad range of people, but when we were kids, we were listening to Nirvana and Sonic Youth and Rage Against the Machine and things like that,” he said. “We were quite a noisy band to start, verging on grunge, really — pretty noisy and pretty horrible. For quite a number of years, we were just really a guitar band, and I don’t think I saw us appealing to anyone outside of our own age group really.” As the members aged, they sought out new musical influences. “That broadened the range of the music and where it could go, which was great for us because there’s only so much you can do as just a rock band,” Wolstenholme said. “Over the years, the influences have changed, but we’ve always tried to branch out as much as possible. You’re always going to have different people listening to you for different reasons.” —Eric Webb
  19. I'll assume this is legit -- Tweet from Eric Webb, Entertainment reporter for Oklahoma Gazette: http://twitter.com/SalaciousScribe
  20. There's quite a large article on Muse in the Saturday newspaper of the Courier mail which is the main Brisbane newspaper. It's with Matt and Chris who are in Los Angeles and they talk about their rise to the top and Chris also talks about his battle he had with alcoholism, quite an interesting read actually. I'll try and post some scans soon when I have time
  21. Matt AKA "Scrap Bellamy" oversees the bands day at Teignmouth carnival on the Den (Saturday 31st July 2010). This model of Matt has been made from recycled materials by Michelle Wilcox & Robin Brown, with help from children attending creative workshops during carnival week.
  22. It's a fairly long article so I'll just quote the parts where Muse is mentioned: I think I read somewhere that one of the guys (Dom maybe?) said he doesn't particularly like prog rock and doesn't think Muse fits in that genre. The article also points out that a lot of prog rock bands, when signed by major labels, are pressured to make more radio-friendly songs. Seems like Muse has certainly faced that pressure.
  23. Muse's Matt Bellamy 'I'm too short to be Shockwaves NME Awards' Sexiest Male' Muse's Matt Bellamy believes he's "too short" to named Sexiest Male at the 2009 Shockwaves NME Awards. Speaking in an exclusive video interview below, the frontman initially thought it was a joke when he was told of his win. "That's like a little joke, isn't it?" asked the singer. "I'm too short to be sexy - that's why I don't understand it!" More seriously, the group also won Best Live Band, which was a shock to them. "It was a real surprise," said Bellamy, "because we only did a few gigs last year." Too short? xD Well.. he is perfect! woohoo the sexiest male ever xD Congratulations Matthew James Bellamy! Muse FanWebsite
  24. I know that after the Interviewgame (http://board.muse.mu/showthread.php?t=71078) with Muse I promised that I will translate something again when I see that it's worth it. So here I am again. Hope you'll enjoy it. 26.May.2010 23:50 MUSE ARE COMMING TO SWITZERLAND EARLY, FOR SURE and MATT THE FARMER makes MUSE CHEESE from Isabelle Riederer - This show will exceed all expectations! On June 2nd Muse will start their world tour at Stade de Suisse in Bern. The preparations are already started and are reaching it's peak. "20 Minutes" (free newspaper) talked to the singer Matt Bellamy. Since 25. of May the whole Stade de Suisse is in lockdown. Inside works are going on and stuff gets installed. For the big starting Gig of the British rock band Muse everything has to be perfect. Frontman Matthew Bellamy knows that the stage will be their Piece of Heart of their upcomming world tour. That they will have enough time to exercise, the three Brits will be expected in Switzerland earlier. Roumor has it that muse will be heading right to Switzerland after their gig in Portugal. "Free & Virgin" confirmed: Yes, Muse will come to Switzerland earlier for sure. When exactely they wouldn't tell. Interview with Matthew Bellamy: Hi Matthew, how are you? Thanks, I'm fine. At the moment we're in the middle of the preparations of our tour. We're doing the last few things on exercising. Last November you played in Zürich, now you'll play at Stade de Suisse in Bern on 2nd June. Can your fans look forward to a new show? Oh yeah, a lot. This tour will be completely different from the last one. It will be a huge spectacle and the biggest Show we have ever made. We have uncountable amounts of special effects, a girl that supports us with acrobatic tricks, pyrotechnics and everything what needs to be there. Your concert in Ber is the first concert with the new stage. Nervous? Yeah, a bit. The new stage is immense and there's an unbelievable amount of technic in it. So quite naturally one is nervous and hoping that everything will work. For the first time your fans were able to vote for the concert-setlist online. Isn't that too complex when you play different songs at every show? Sure, that wouldn't be possible. Our fans were able to vote what we should play but we can only play the two songs with the most votes. When we would play all the songs we would end up only our old songs. Just your old hits! Does that mean that your fans don't like your new songs? No, no, that's not it. But a lot of our fans are very loyal to us from the first hour and they connect a lot of memories with them and obviously they would like to hear these old songs live once again. Does it bother you when there's only chat about old hits? Our old songs made us what we are today. We are very proud of them. You will be on tour until November, have you got any plans what you will do afterwards? Yes I will become a farmer. I recently bought a farm in England. I love to be outside in the nature. That's where I can calm down and recreate myself. You are becoming a farmer? The serious way, with cows and sheep? Yeah, two weeks ago I bought 15 sheep and when I get back there will be 10 cows as well as some pigs and goats. And after that there will be Muse-Cheese? Heeey, that would be a good Idea and from the sheep wool we will make Muse hoodies (laughing). I really have to think about that, until now I only bought the sheep because there's a lot of land to the farm which is quite not even and very difficult to cut the grass. That's what they're mainly for, to eat the grass.
  25. Couldn't find a thread on this article here, but feel free to delete, correct or move it if there is something wrong Yesterday’s (23rd of May) issue of the Norwegian newspaper VG contained a little interview with Matt! I haven't got access to a scanner, but I can give you a transcription and a picture if anyone is interested? English isn't my first language and I translated it pretty fast, so it's probably a couple of errors in it, really sorry about that.
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