radio BBC Radio 1 Audio Interview

[JessicaSarahS]

From earlier today:

 

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[alehartl]

"Finalizing tracklisting" makes me think there might actually be some b-sides on this one. Or it might just be ordering, but that would be nice.

[Chryse]

So the single is actually going to be more mellow with a build up to the ending. Okay.

[DifferentPerson]

Only one song is like the trailer... interesting.

[DifferentPerson]

So Panic Station is going to be a jazzy song with an 80s twinge to it?

[Furygirl]

Personally, I'm looking forward to a "disco-y track" with brass.

 

Maybe it will be another CoD. Not that CoD is disco, but something about it makes me feel like I'm on a Love Boat episode.

[mjartrod]

Maybe it will be another CoD. Not that CoD is disco, but something about it makes me feel like I'm on a Love Boat episode.

this one takes the cake for the oddest comment i've read about COD :LOL:

 

 

Thanks for the links. I heard the int live, but i was having a hard time focusing lol

[Riveon]

When I resumed the video I was trying to work out who was speaking - didn't initially recognise the voice but they were talking as if they were part of Muse. Guess I'm not used to the idea of Chris being in any interviews with Matt and Dom.

[supernova13]

Only one song is like the trailer... interesting.

 

Thats how I think of it too. I mean, we technically already knew that when they said there will be "a Skrillex/RATM inspired song." Since it was singular. But that really does mean this album is going to be more diverse, like they said. "Brass in some songs." Is cool too, I hope at least 3 or 4 songs have brass instruments. "Bringing brass back."

[Tofu]

Right, since I've seen a load of confusion about what was actually said in the interview, I've gone and did a transcription as best as I could.

 

 

*general greetings*

 

Z: We're here at a studio based in London, and I'm here with Matt and Dom from Muse. And it's all happening as of today. It's all happening—

 

M: That's it. Great to see you again. Every time we see you we know it's happening.

 

Z: It's good for me, it's good for the audience; I know there's millions of people all over the world who are tuning in right now and listening to this again because anticipation for your return has been huge, but you always surprise people. I mean, this, for a lot of fans, the vibe is that this has kind of come out of nothing, y'know—hey Chris—I know you've been building on this for a long, long time, but does it feel kind of like a tipping point, per se, today?

 

D: It does come around surprisingly quickly, doesn't it, but it's um…it's yeah, it's great, like this is the first interview we've done, I suppose, today.

 

M: Forgive us for being a little bit—

 

D: Y'know, the first—

 

M: ehehehe out of shape.

 

D: —we announced the first song for the Olympics today at this press conference thing we did, so it's the first time we kind of showed any music I suppose, to the public realm.

 

M: We did that, we did a little trailer thing, uh, which is uh, went on Youtube, didn't it yeah? It's like um…It was like an excerpt of one of the tracks on the album. We kinda sorta threw that as a kind of taster, um, to give the idea that the album has got some different faces coming, y'know? But yeah, um, today's the first thing worth, first time you're playing, that anyone's playing a full song. If you'd like, yeah.

 

Z: I know, and uh, what a tune. I mean, we're gonna play it again soon, and this is all kind of part of a big return for you guys on Radio 1 and a lot of people are listening, and we'll get to the tune, we'll get to the teaser. We're not gonna get too deep into the album 'cause I know that you're not even there yet. It's almost there.

 

M: Yeah, literally today we're putting together the track listing and picking the final mixes and all that stuff.

 

Z: That's the exciting part, though, right. That's gotta be the exciting part.

 

M: Yeah, it's great, y'know, so it's the chance to listen back to all that work. It's been… how long have we been making it?

 

D: It's like, 6 months?

 

M: Yeah, 6 months on and off.

 

D: On an off.

 

C: Since October, there's rehearsals and then—

 

Z: Chris, you've broke it, you've told us already that when you were gonna start the record and that kind of a– I suppose in a way.

 

C: Yeah, we did Reading Festival and then– I mean, last year was…yeah, kind of a year off with a few gigs thrown in, but then it was always gonna be the end of the year that we'd get together. And I think we start rehearsin' in October—we're just goin' through some ideas and it all kind of came together pretty quickly. And uh…by November we felt like it's time to record now and crack on with it, so it's been, y'know, six or seven months recording I think.

 

Z: Yeah, I mean, amazingly quickly when you consider that the expansiveness of the record and the way it sounds, I mean, anyone expecting the sort of, y'know understated acoustic follow-up to Resistance is going to be so disappointed. I mean there's definitely from what I've heard getting to the first official single, which I haven't even think's been announced yet so I'm not gonna name it, but I've heard that and that's different and it's mellow and it creeps up towards a big explosive ending, but…the first thing today is. Huge. I mean, sounds like war breaking out.

 

M: The Olympic track. Yeah. Yeah, it's great, that song. Someone approached me—I can't say who—but about a year ago to write a song for the Olympics. And uh, we were gonna work on it, and um. I'll give you a clue: it involved a good pianist. And so I wrote this song in mind with the idea of playing with the pianist and also that's why it's got a lot of guitar and piano playing at the same time, which normally I don't do. Um, and then that kind of went away for whatever reason, and then—

 

Z: Went away in the sense that you continued working on that song and it would've been faithful to the album whether the Olympics are pulled back or not?

 

M: Yeah, I- I sort of put it together and it sounded like it was gonna be a good song—at that point I didn't really have any lyrics anyway. It was just like a sort of epic, sort of musical idea. It'd be like involving a choir and stuff and um. But as time went on, then we got asked to play the ending ceremony. By that point the song had developed, y'know? So we sort of said, well we've got to play this. We've got to play this at the ending ceremony. So we got them to listen to it and the Olympic people loved it. So they'd love to use it as the official tune, y'know?

 

Z: And was your approach to lyrics with the Olympics in mind at that point even though it had gone away, and gone back thing thinking 'Well I'm gonna be faithful to the original'?

 

M: Yeah with the way the music developed…the music was uh, I mean, the lyrics are just about that, trying to get into that zone of what it is to be completely determined to win, y'know, against all the odds and that kind of stuff. Like um, the conviction, like the kind of like eh but also the sort of the more dark—anyway don't wanna say dark side—but more like the truth of what it, y'know, some people could write a song about the Olympics and it'll be very sort of like, this will be all encompassing all embracing, but it's actually—

 

Z: It's actually about sacrifice as well.

 

M: —is about winning, isn't it. It's winning. The thing is like, I wanted to make a song that just tuned into that part of it, y'know, like the real competitive side, y'know. It is a competition, y'know, and so I kind of wanted to capture that um, that side of it.

 

Z: To see the finished result visually as well and to know that whoever put that to get the mega-montage as they called it has really captured that side of the song, too, because, I mean, y'know, it's a very uplifting watch, but it is really showing that, as you say, athletes and competitors at their most brutal. Yeah?

 

M: Definitely.

 

Z: So this song, and plus the prelude—obviously we're gonna play it again now, on Radio 1, we're gonna come back and continue to catch up with Muse, who are officially back with the album due out soon, and here it is right now. This is the Olympic song "Survival +Prelude" right now on Radio 1.

 

[Tofu]

 

 

 

Z: Alright, so we've got Matt, Chris, and Dom here, and we're in a recording studio where finishing touches are being put your forthcoming new album, "The 2nd Law". Everyone knows it's called that because you used Youtube for what it's for. Put up a teaser and had some fun with that. I mean, y'know ehehe it was just so classic Muse that when you saw it and it was like, this news reader just telling us that the whole world's gonna come to a crushing demise. And then in comes this crunching dubstep and I'm like, "Ah! The boys are back. That's good." Haha, y'know obviously you've been having fun making this record and stepping aside from people's expectations and your own.

 

M: Yeah, definitely. Yeah yeah, we've definitely tried a bunch of new things and uh…that trailer sort of gives a glimpse of that. I mean there's only one song that's like that, y'know, where we've obviously tried to do what Rage Against the Machine did with hip hop in the sort-of 90s: take an influence from a bit of electronic world, dubstep and stuff, but tried to play it with real instruments y'know. Just sort of give it a different twist, but uh, it's really only that song that's like that. The rest of the album is very, very diverse. I mean, you've heard obviously, some of it.

 

Z: Must be fun to work on that track though, particularly, y'know, because obviously I know you guys have been into that kind of music for awhile, and to approach it like a band. And to approach it like with guitars and bass and drums and y'know, especially with you 'cause the drums are so important to that side of electronic music to try and play that kind of rhythm must've been fun.

 

D: Absolutely, yeah, I mean well, you'll find with some of those…like the drums in some of that music is actually quite simple and like all the weird stuff is happening with the bass and the guitars—all that kind of wub wub basses and triplet fills and all that kind of stuff so, y'know, these guys worked pretty hard getting the kind of um, y'know, the kind of the weird way the guitar and bass works with each other. I liked how they work together.

 

Z: It'll be interesting live that one, huh?

 

M: Oh, it'll be great. I'll just have to go mental on the whammy pedal, hahaha.

 

Z: You talked about Rage Against the Machine, well I thought, while I've got you here and we're sort of playing catch-up before we talk about the album in more depth sometime in the future…You got a chance to play with them last year as one of the few shows you talked about, which I haven't spoken to you since then, and that must've been just a remarkable experience for you to be able to go out an play with the band that really were instrumental in helping you form in the first place.

 

C: Well I think it's the second time we've played with them. I think we played, was it, 2007 when they first reformed. And we know, it was their first gig in how many years I don't know.

 

M: Is that when the bass player jumped on the…was that in Italy?

 

C: No, it was in Vegas, I think. Yeah, that's the one. And uh, that was obviously amazing, 'cause no one ever knows how the reems ever end up. Y'know, sometimes their tragic, sometimes their brilliant. So to get to do it again, was, j– I mean, we love'em, y'know, they're just such an incredible live band. And to be stood side-stage watching it. I don't think I've ever seen a band with that much power in such a stripped down way as well, I mean.

 

Z: It's just good to be fanboys, y'know, and you've got so many people out there that feel the same way about your band and to be side-stage watching the band that changed your life is y'know, must've been—

 

D: That was the weird thing. I mean, it's amazing to be asked to play with them, but to actually realize that they were actually fans of our band? That was the surreal thing.

 

Z: That's some bizarre 360° like, you plan to see at Reading Festival and like, 15–20 years later you're like, 'Oh this is strange'. It must've been a strange moment of clarity in a way.

 

D: It was weird. 'Cause we…we met them in Germany in Rock im Ring, and did that picture with them, and were like, 'wow this is cool', but um, it was hard for us to ever try and—for them, to say, 'Oh we love your band, man'—it's hard for us to ever try and say to them, 'We've got no idea how much we do love your band now, but obviously used to when we were young, and how much of an influence you were and that kind of thing.

 

M: Yeah I've actually exchanged numbers with Tom Morello, and every now and then I get a text from Tom Morello and I just, every time I see it I get like…"No, can't be, something's not right here."

 

Z: I'd love to know what name that's under in your phone, 'cause I bet it's not Tom Morello, bracket RAGE, end bracket.

 

[Tofu]

 

 

—

 

Z: I wanna get a few words about the album 'cause fans will want to know, and we can talk in more depth about it when it's finished, but just more of a setup in the making of it the last six months. What were some of the key sort of ideas or words or even just melodic reference points you had to go on and make this kind of record?

 

D: Wow.

 

M: Caught off guard there. Obviously we're still in the process of finishing it, so it's um…y'know. We don't talk too much about it at this stage, but it's um, y'know, there's. I just don't know what to say. It's very diverse, I mean, you've heard some of it. There's bigger emphasis on groove, definitely. We've always tried to improve the groove with every album we've done, but this time I think we've nailed it. There's a couple of tracks where we've really, the groove is actually the best thing that's about the song, y'know. Um, obviously the one you've played today has got nothing.

 

Z: No, it does though. 'Cause I mean, y'know, you two have always got that groove very much inherently in what you do and I think that you've always been, what they called, the pocket y'know, you're very much in the Muse pocket, which allows you, Matt, to obviously with the rest of the guys, but to go completely…crazy.

 

M: Over the top.

 

Z: But the groove on Survival is very much in…it just, it retains and it holds its own for everything else to go crazy on it. Let's talk a little more about that song in particular because um, obviously it's the one we're playing tonight, um. Y'know, you working with the choir and pushing it out there, being even more sonically adventurous in terms of the width of the sound of the record, I mean. Does it get more and more challenging the more you take on, or do you understand it more?

 

M: Um, yeah, I've learned a lot more about that, I mean, this day, these days y'know, the kind of computer stuff you can have, you can access a lot of sort of virtual instruments y'know, and then even though the whole album we've done it all for real, from the composing point of view you can do a lot of sort of…a lot of that stuff and test it out before you actually go into the studio with a full choir. Um, so um so that, y'know, it just makes it a lot easier, doing—

 

Z: You're trying to reign that in though, get it down to a condensed piece of music that makes it sound as good on small speakers as it does in this studio here, where it's been trained(?).

 

M: Oh you've got to make it sound good on all the iPhones in this day and age.

 

Z: Exactly! I think it'll melt my iPhone if I tried to play it right now. But it launches out at you, y'know, and that must've created some unique challenges because you seem to be raising the bar every time. I thought Resistance was nuts, y'know. This record is sonically and ideas-wise and sound-wise, even bigger.

 

M: That's just what we do, isn't it? I don't…some point it's gonna, I don't know, I can't imagine.

 

Z: Implode?

 

M: Implode, that's possible I don't know, like y'know, the other track you've heard, you…it's gonna be the main single, like that track is…I think it's pretty stripped down, minimal for what we do, y'know. So I think I'm…I think it's a couple tracks where we've captured that other side. But I'd say, I'd say Survival is an Olympics track is pretty much, I'm not sure if you can go much further than that, y'know? And anytime that sort of silliness, craziness, and y'know—

 

D: Epicness?

 

M: Epicness, all those words, but y'know.

 

D: Yeah, I don't know, I suppose we're always just constantly trying to raise the bar every time we kind of start working on tracks like Chris said, what we were doing last October y'know, it's just about, y'know, trying to make it better than what we've done before, as long as we're kind of feeling like that's where we're going, and that's uh, the direction we're heading in, then we're happy.

 

C: It's always cool though, when you start trying new things, I mean we're obviously done the strings before, but y'know on this album, we did the choir, and then there's some tracks where we've got brass as well, and these are all things that are kind of brand new to us and—

 

Z: Saxophone solo? *bell*

 

M: Actually we we we've got, um, we've got the brass um, we've got a little brass uh, jazzy brass number, haven't we?

 

Z: Yeah?

 

M: Yeah, I think there's a bit on that track.

 

Z: Very underrated, brass, I think, in modern day music.

 

M: Yeah, we've brought brass back on this one.

 

Z: What do you mean, bringing brass back? Quote, they've got on a word from a magazine, that's your headline—

 

M: I tried to get a sax solo, by the way. I was pushing for the sax solo.

 

Z: It's a very fine line, I think.

 

D: Yeah, the solo is one step too far, but a nice little brass—

 

Z: But who dares (???) Seriously, the people who've gone and put the sax solo out there have (???) iconic moments of musical history.

 

M: We're we're we're on holiday recently and uh—

 

D: Kenny G.

 

M: I was in Greece and some of that um, die straight song. What was that, it's got a whole song that's just like a trumpet, a uh, a saxophone solo. Goes do do do doo, it's so like, it just makes me think of 'Romancing the Stone', y'know that film?

 

Z: That's it, that's a very 80s thing, you'd never be able to shake it but you guys aren't adverse to a little 80s in your music, surely!

 

M: We'll always be hearing of that, won't we?

 

D: Well that's the song that we're talking about, it's got like, slight 80s twinge to it I suppose, but um…

 

Z: Haha he actually flinched when he said that.

 

M: We're not sure you've heard that one. Have you heard that one? It's called Panic Station.

 

D: I've got no idea.

 

M: Okay.

 

D: Um, we've had a nice little horn sections with like old boys from like, Chicago or somewhere.

 

M: Yeah the lead trumpet player was—

 

Z: Oh, I've heard! This was the disco– This is the one that's quite disco-y!

 

M, D: Exactly.

 

Z: You're underselling it! You're making it feel like a supergroup featuring Kenny G (???) featuring—

 

M: The lead trumpet player was the same guy who played it on Superstition.

 

Z: That's not brass, is it?

 

M: And that guy, and he uh…what was it what was I gonna say, yeah in four years, he pointed out that when the album comes out, it's 40 years almost to the month I think that when Superstition came out. Which is great, 'cause we've got the same guy playing. And and…it's a similar riff actually. It's gotta be said.

 

Z: (Shh shh!) Now y'know, I don't wanna try to protect you from, y'know, but let's just hold back on that conversation. Stevie Wonder's publishers will be in touch.

 

—

 

Z: So we've got plenty of time to talk about in the future about the album, and uh, I'm looking forward to doing that. I'm looking forward to hearing it. Y'know, I can't wait. We'll talk about what the second law is from your perception and we'll talk about, y'know, some of the journey in more detail about the songs. Um. I will get literally lynched if I don't bring up the L word, which is live, and I know you've already put a few, a few sort of like, dates up, and its starting to build um… Will the diary fill quickly and will it be an extensive world tour because you've always been very thorough about your touring?

 

C: Yeah. It's full.

 

M: We're full up until 2014.

 

D: I can probably tell you up to December 2014.

 

M: Oh wait not '14, '13, yeah. Um, but…

 

Z: How'd you feel when that was presented to you? I know that you love to tour and play live, but y'know, everyone, priorities change and shift over time. How did you feel when you saw that?

 

M: It's always a bit daunting, but at the same time you're so excited to play that you sort of, those two things cancel each other out. But uh—

 

C: It goes very quickly once you're on te road, that's the thing, I mean. You saw the list before you go out and it's just pages and pages and you just think, 'Wow,' y'know, 'it's two years of your life planned out'. And then you go on tour and then it's kind of over before you know it. I mean, when we did Reading Festival, that pretty much marked two years of touring the last album. And uh, yeah, I couldn't believe it. That was it. It was time to do a new album, y'know, so it does, it flies by.

 

Z: Thank God you did make a new album. I wasn't sure. I mean, as a fan I wasn't sure whether you'd go actually. It's time, y'know, not ever, but it's time to take a break or whatever 'cause it has been pretty consistent. And I think we're all a little bit shocked that the record has come around so quickly, but we're all really happy that it has, y'know? In a matter of 6–8 months, we're here, we're talking, and it's good, man. It's exciting times.

 

M: Excellent.

 

D: Nice.

 

M: I'm looking forward to it.

 

[deborafraga]

 

—

 

Z: I wanna get a few words about the album 'cause fans will want to know, and we can talk in more depth about it when it's finished, but just more of a setup in the making of it the last six months. What were some of the key sort of ideas or words or even just melodic reference points you had to go on and make this kind of record?

 

D: Wow.

 

M: Caught off guard there. Obviously we're still in the process of finishing it, so it's um…y'know. We don't talk too much about it at this stage, but it's um, y'know, there's. I just don't know what to say. It's very diverse, I mean, you've heard some of it. There's bigger emphasis on groove, definitely. We've always tried to improve the groove with every album we've done, but this time I think we've nailed it. There's a couple of tracks where we've really, the groove is actually the best thing that's about the song, y'know. Um, obviously the one you've played today has got nothing.

 

Z: No, it does though. 'Cause I mean, y'know, you two have always got that groove very much inherently in what you do and I think that you've always been, what they called, the pocket y'know, you're very much in the Muse pocket, which allows you, Matt, to obviously with the rest of the guys, but to go completely…crazy.

 

M: Over the top.

 

Z: But the groove on Survival is very much in…it just, it retains and it holds its own for everything else to go crazy on it. Let's talk a little more about that song in particular because um, obviously it's the one we're playing tonight, um. Y'know, you working with the choir and pushing it out there, being even more sonically adventurous in terms of the width of the sound of the record, I mean. Does it get more and more challenging the more you take on, or do you understand it more?

 

M: Um, yeah, I've learned a lot more about that, I mean, this day, these days y'know, the kind of computer stuff you can have, you can access a lot of sort of virtual instruments y'know, and then even though the whole album we've done it all for real, from the composing point of view you can do a lot of sort of…a lot of that stuff and test it out before you actually go into the studio with a full choir. Um, so um so that, y'know, it just makes it a lot easier, doing—

 

Z: You're trying to reign that in though, get it down to a condensed piece of music that makes it sound as good on small speakers as it does in this studio here, where it's been trained(?).

 

M: Oh you've got to make it sound good on all the iPhones in this day and age.

 

Z: Exactly! I think it'll melt my iPhone if I tried to play it right now. But it launches out at you, y'know, and that must've created some unique challenges because you seem to be raising the bar every time. I thought Resistance was nuts, y'know. This record is sonically and ideas-wise and sound-wise, even bigger.

 

M: That's just what we do, isn't it? I don't…some point it's gonna, I don't know, I can't imagine.

 

Z: Implode?

 

M: Implode, that's possible I don't know, like y'know, the other track you've heard, you…it's gonna be the main single, like that track is…I think it's pretty stripped down, minimal for what we do, y'know. So I think I'm…I think it's a couple tracks where we've captured that other side. But I'd say, I'd say Survival is an Olympics track is pretty much, I'm not sure if you can go much further than that, y'know? And anytime that sort of silliness, craziness, and y'know—

 

D: Epicness?

 

M: Epicness, all those words, but y'know.

 

D: Yeah, I don't know, I suppose we're always just constantly trying to raise the bar every time we kind of start working on tracks like Chris said, what we were doing last October y'know, it's just about, y'know, trying to make it better than what we've done before, as long as we're kind of feeling like that's where we're going, and that's uh, the direction we're heading in, then we're happy.

 

C: It's always cool though, when you start trying new things, I mean we're obviously done the strings before, but y'know on this album, we did the choir, and then there's some tracks where we've got brass as well, and these are all things that are kind of brand new to us and—

 

Z: Saxophone solo? *bell*

 

M: Actually we we we've got, um, we've got the brass um, we've got a little brass uh, jazzy brass number, haven't we?

 

Z: Yeah?

 

M: Yeah, I think there's a bit on that track.

 

Z: Very underrated, brass, I think, in modern day music.

 

M: Yeah, we've brought brass back on this one.

 

Z: What do you mean, bringing brass back? Quote, they've got on a word from a magazine, that's your headline—

 

M: I tried to get a sax solo, by the way. I was pushing for the sax solo.

 

Z: It's a very fine line, I think.

 

D: Yeah, the solo is one step too far, but a nice little brass—

 

Z: But who dares (???) Seriously, the people who've gone and put the sax solo out there have (???) iconic moments of musical history.

 

M: We're we're we're on holiday recently and uh—

 

D: Kenny G.

 

M: I was in Greece and some of that um, die straight song. What was that, it's got a whole song that's just like a trumpet, a uh, a saxophone solo. Goes do do do doo, it's so like, it just makes me think of 'Romancing the Stone', y'know that film?

 

Z: That's it, that's a very 80s thing, you'd never be able to shake it but you guys aren't adverse to a little 80s in your music, surely!

 

M: We'll always be hearing of that, won't we?

 

D: Well that's the song that we're talking about, it's got like, slight 80s twinge to it I suppose, but um…

 

Z: Haha he actually flinched when he said that.

 

M: We're not sure you've heard that one. Have you heard that one? It's called Panic Station.

 

D: I've got no idea.

 

M: Okay.

 

D: Um, we've had a nice little horn sections with like old boys from like, Chicago or somewhere.

 

M: Yeah the lead trumpet player was—

 

Z: Oh, I've heard! This was the disco– This is the one that's quite disco-y!

 

M, D: Exactly.

 

Z: You're underselling it! You're making it feel like a supergroup featuring Kenny G (???) featuring—

 

M: The lead trumpet player was the same guy who played it on Superstition.

 

Z: That's not brass, is it?

 

M: And that guy, and he uh…what was it what was I gonna say, yeah in four years, he pointed out that when the album comes out, it's 40 years almost to the month I think that when Superstition came out. Which is great, 'cause we've got the same guy playing. And and…it's a similar riff actually. It's gotta be said.

 

Z: (Shh shh!) Now y'know, I don't wanna try to protect you from, y'know, but let's just hold back on that conversation. Stevie Wonder's publishers will be in touch.

 

—

 

Z: So we've got plenty of time to talk about in the future about the album, and uh, I'm looking forward to doing that. I'm looking forward to hearing it. Y'know, I can't wait. We'll talk about what the second law is from your perception and we'll talk about, y'know, some of the journey in more detail about the songs. Um. I will get literally lynched if I don't bring up the L word, which is live, and I know you've already put a few, a few sort of like, dates up, and its starting to build um… Will the diary fill quickly and will it be an extensive world tour because you've always been very thorough about your touring?

 

C: Yeah. It's full.

 

M: We're full up until 2014.

 

D: I can probably tell you up to December 2014.

 

M: Oh wait not '14, '13, yeah. Um, but…

 

Z: How'd you feel when that was presented to you? I know that you love to tour and play live, but y'know, everyone, priorities change and shift over time. How did you feel when you saw that?

 

M: It's always a bit daunting, but at the same time you're so excited to play that you sort of, those two things cancel each other out. But uh—

 

C: It goes very quickly once you're on te road, that's the thing, I mean. You saw the list before you go out and it's just pages and pages and you just think, 'Wow,' y'know, 'it's two years of your life planned out'. And then you go on tour and then it's kind of over before you know it. I mean, when we did Reading Festival, that pretty much marked two years of touring the last album. And uh, yeah, I couldn't believe it. That was it. It was time to do a new album, y'know, so it does, it flies by.

 

Z: Thank God you did make a new album. I wasn't sure. I mean, as a fan I wasn't sure whether you'd go actually. It's time, y'know, not ever, but it's time to take a break or whatever 'cause it has been pretty consistent. And I think we're all a little bit shocked that the record has come around so quickly, but we're all really happy that it has, y'know? In a matter of 6–8 months, we're here, we're talking, and it's good, man. It's exciting times.

 

M: Excellent.

 

D: Nice.

 

M: I'm looking forward to it.

Thank you

[Hyper]

thank you very much

[Furygirl]

Tofu, you're always like the Muse board secretary with your lovely transcriptions.

 

Thanks!

[Tofu]

Cheers! And I figured someone's gotta do it. Might as well be someone who likes to type.

[Hyper]

I was in Greece and some of that um, die straight song. What was that, it's got a whole song that's just like a trumpet, a uh, a saxophone solo. Goes do do do doo, it's so like, it just makes me think of 'Romancing the Stone', y'know that film?

 

 

is he talking about Dire Straits song??? anyone knows which one??

 

may be this: