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Or, you know, Tom doesn't have to be the only one that knows how to use a camera...

 

Sadly, the stuff I'd like to see in Making Ofs tends to be the stuff that Bellamy is almost certain to not let be shown.

More of the processes the songs go through as they change, vocals, etc.

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Or, you know, Tom doesn't have to be the only one that knows how to use a camera...

 

Sadly, the stuff I'd like to see in Making Ofs tends to be the stuff that Bellamy is almost certain to not let be shown.

More of the processes the songs go through as they change, vocals, etc.

 

Well obviously, but I'm fairly certain it would distract from the creative process if they had to worry about staging the cameras themselves all the time. Unless they were just fixed cameras; the way Tom records he's pretty active about changing camera angles and whatnot.

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I'd have been totally okay with static camera angles to get more of the Drones footage.

 

I never really cared for the Making Of stuff, and then with Drones we didn't get it, so of course I wanted to see more. :chuckle:

It was a very different recording process, from the sounds of things, so maybe it could have amounted to more than watching the guys dick around to the song in question overlaid.

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I feel really sorry for fans in countries where Muse never play. They're playing so many gigs in England and some countries get not one. :(

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or maybe it's just me. Maybe no-one would be interested in it at all?

 

Nah, of course it's not just you. I'd absoluty love it if the band provided a recording of the gig! I'd certainly stop filming if I could rely on getting video of the whole thing.

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If they were to do this, I'd imagine it'd be the completely unedited audio and video being used for the screens. Can't imagine they'd have the time or care to edit certain material out while on tour (assuming they'd be uploaded that night or the following day).

 

I wish they'd just add "please put your phones away and enjoy yourselves" to the "no flash on your cameras" PSA for the floor of the arena tours.

 

Well, it can't be that bad. I for one would probably be happy with the quality, as I'm happy with the recordings from my point-and-shoot camera.

 

Holding up a camera doesn't mean I'm not enjoying myself. Actually I find it hard to enjoy myself when don't know if I'll have a recording of the gig.

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Holding up a camera doesn't mean I'm not enjoying myself. Actually I find it hard to enjoy myself when don't know if I'll have a recording of the gig.

 

:yesey: Same.

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I sometimes get a kick out of watching shit quality recordings tbh, makes me remember how it felt to be there or gives me an idea of how it must've felt if I wasn't.

 

Megalomania @ RAH and Hyper Music @ Leeds spring to mind, particularly the latter for the bass (yes that required a different font).

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Of course we all enjoy watching Muse on youtube, but I'd much rather lose that if it meant no more cameras at gigs.

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Almost impossible it won't be obstructing views if you're in GA. Seats might be a different story. Either way, I can't stand seeing people record.

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People have done a very good job of recording from face height or lower at the gigs I've been to, so maybe I've just been lucky.

I'd be pretty down as a Muse fan if people didn't record things.

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And what significance you give to Palestrina's role in the history of music?

In general, tell us more about this song. We REALLY want to know what meaning it has on the album and to you: why is it at the end? why is it played twice at gigs?

 

If this one doesn't get answered, Matt did talk about it a bit in an interview. I think the only one I've really seen him talk about the song.

He was fascinated with what he saw as a disturbing juxtaposition between the religious music and lyrics about death by modern technology. (Interestingly, one of the blacked out text articles posted on their IG prior to the album release saw Matt in '01 talking about how Japan made him realize that separation of spirituality and technology/progress was destroying our connections to ourselves and each other.)

 

In the same interview, Matt begins talking about the "amen" at the end, but then either trails off, or mumbles so badly the mic doesn't pick it up.

(Behind Drones, Up Close with Muse Interview.)

 

If you go way back to that German Ticketmaster print interview, Matt referred to The Globalist as being 13 minutes long, and ending with the voices of the ghosts of people killed in drone strikes that would never see justice, indicating Drones is in fact actually part of The Globalist that was separated later for whatever reason.

 

The same interview in which Matt says The Globalist was written before the rest of the songs, and was a "sequel" to CE in that he was trying to "recapture" how he wrote songs back in those days.

Which does lead me to wonder why that process involved him covering, or recreating, three other existing pieces of music...

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I don't have any questions left, but I'd really be interested to see whether they honestly believe the "Heavy enough... to make the hard rock crowd happy" line in their Drones Tour trailer.

 

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I don't have any questions left, but I'd really be interested to see whether they honestly believe the "Heavy enough... to make the hard rock crowd happy" line in their Drones Tour trailer.

 

 

I had actually never watched that...

 

Of course, it could apply to "Europe" anyways. Most likely they don't have the US in mind when they talk about anything at all.

 

Then again... SMBH is playing in the background when that's overlaid.

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(emphasis mine)

 

What :stunned:

 

During the 2006 Gonzo interview with Zane Lowe, when asked if the band have ever been "shocked, confused or bemused by things that fans have written on [their] message board," Bellamy said "...you can get riddled with er...self doubt and syphilis if you spend too much time on [there.]"

 

Hahaha

 

I just assume most people on the internet are high-functioning bots or low-functioning humans.

 

Can I make this my signature?

 

 

Actually, I take that back in light of remembering this.

 

Oh man. Thanks for that reminder...That damn video played like every 30 minutes at the Atlanta gig and I was there all day (same city on the day as the finals if I recall) . I think it brought in half the crowd though, so in that respect I suppose it was successful.

 

In regards to the proshot concerts, I for one would definitely buy them. I would also volunteer to be the cameraman :p

 

I have taken pictures during the slower songs. I try not to be too obnoxious though. I even warn people around me that I get a little crazy :p

Edited by bob122577

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Your songs are very, very DESTRUCTIVE

I know they are not good for my mental health,

but I don't want to stop listening.

What do you think of the destruction of your music?

It may seem little weird but I'm absolutely serious.

I know everyone interprets songs differently but this really shocked me. Back when I was struggling with depression, I clung to Muse to get me through it. :( I wish it were the same for you.

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If this one doesn't get answered, Matt did talk about it a bit in an interview. I think the only one I've really seen him talk about the song.

He was fascinated with what he saw as a disturbing juxtaposition between the religious music and lyrics about death by modern technology. (Interestingly, one of the blacked out text articles posted on their IG prior to the album release saw Matt in '01 talking about how Japan made him realize that separation of spirituality and technology/progress was destroying our connections to ourselves and each other.)

 

In the same interview, Matt begins talking about the "amen" at the end, but then either trails off, or mumbles so badly the mic doesn't pick it up.

(Behind Drones, Up Close with Muse Interview.)

 

If you go way back to that German Ticketmaster print interview, Matt referred to The Globalist as being 13 minutes long, and ending with the voices of the ghosts of people killed in drone strikes that would never see justice, indicating Drones is in fact actually part of The Globalist that was separated later for whatever reason.

 

The same interview in which Matt says The Globalist was written before the rest of the songs, and was a "sequel" to CE in that he was trying to "recapture" how he wrote songs back in those days.

Which does lead me to wonder why that process involved him covering, or recreating, three other existing pieces of music...

 

Today I was doing something boring but necessary on a blog and decided to listen to some calming, classical music. First up in alphabetical order was 'Miserere' by Allegri. I thought, 'I'd love to listen to some Palestrina. I'll go to the itunes shop and buy the Missa Papae Marcelli because it's really famous and I should know it and Matt used part of it on Drones. Before I wasted my money I saw that I already had it; it was on the same CD as the Allegri. I'd never listened to it because I had such bad memories of being a music student and having to write in the style of Palestrina. I could never bloody do it, no matter how hard I tried! Anyway, I now know that the music Matt used is the Benedictus and is probably on youtube for anyone who wants to listen. Matt's pastiche is so well done but what else should I expect from a genius?:matt::awesome:

 

I know everyone interprets songs differently but this really shocked me. Back when I was struggling with depression, I clung to Muse to get me through it. :( I wish it were the same for you.

 

I guess it depends on how the lyrics affect how you think; they're pretty thought-provoking. In some people who are struggling with mental illness, they might provoke dark thoughts. I've invited him to talk to people on the mental health thread as I doubt this question will be passed on to the band.

 

I've had a reply from the poster. It seems English isn't his first language and he may have meant to say something else and just used the wrong words by mistake.

Edited by maturefan

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#2 One of the members of the Muse community is wondering if you could answer the following question: If you were half man and half sausage, would you like to be a sausage from waist up or from waist down and why?

 

Andrey, this is especially for you:)

 

So glad someone managed to get this in before the window shut.

 

Important question imo, needed to be asked.

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Can I make this my signature?

 

Haha go for it.

 

For Matt, pre-release you talked about The Globalist being a sequel to Citizen Erased, and that you tried to get back into that sort of mindset while writing it.

Could you elaborate on that? What were you trying to recapture, why Citizen Erased specifically, and what drove the decision to include rearrangements of several existing pieces of music into the song?

 

I like this question.

 

Hello, my question is: will you ever release the Hullabaloo and Absolution tours in a Blu-Ray or DVD format that can be watched in the North American region? Would love to be able to watch the older tours. Thanks!

 

I'd love this as well, though I can't see it happening at this point unfortunately.

Edited by Tesseract

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I guess it depends on how the lyrics affect how you think; they're pretty thought-provoking. In some people who are struggling with mental illness, they might provoke dark thoughts. I've invited him to talk to people on the mental health thread as I doubt this question will be passed on to the band.

I know everyone interprets songs differently...

.

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