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Matt being influenced by Black Mirror is the ultimate "I don't know what I was expecting" moment regarding the lead up to the new album

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You just made me realise how good TIRO is in comparison to the new stuff. And I don't even like it that much.

 

Also made me think that it wouldn't sound out of place if it was released today. Absolution has aged well.

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I quite like it, I have a bit of a soft spot for the 'Whoahs'. While people have obviously been comparing it positively/negatively with DD I think there's a good bit of of cohesion between the two tracks. Both relatively slow, stompy rhythms with lots of emphasis on the back beat. Obviously TC is more upbeat/driving in feel but maintains that stompy backbeat heavy basis.

 

I'm not sure how the 'bitten by' part sits with me. I think structurally it comes across a bit strangely as it is first heard leading into a chorus ('Whoahs') then is next heard (with stabs, which I like) coming out of a chorus so it feels a bit ambiguous as to whether it's a pre-chorus or a post/part two chorus.

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Was also trying to work out the other day the last time I actually really dug a Muse guitar 'solo.' Not really been a big fan of Matt's recent attempts at all.

 

Defector was lusssshhhh

 

Reapers and Revolt were pretty cool as well imo.

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Having seen Muse with a crowd that gives a shit now it makes a world of difference. I'm not arguing that necessarily. What annoys me.is more how overstayed 30stm's chanting gets. I don't mind their music, I like Leto's voice and I wish he would play and show more of the actual band.

 

I had last seen 30stm in 2009 with Muer also and they were more straightforward and I remember that performance fondly.

 

The thing is, it shouldn't matter at all. A band should be able to give 100% no matter what, and I've seen plenty of bands give amazing performances to dead crowds (mostly opening acts, tbf.) And the band needs to realize that crowd engagement is largely in their hands.

Muse got off easy for the early part of their career in the UK/Europe having gotten massively popular relatively quickly, but when they need to sell themselves to crowds, like the smaller US gigs, not saying a word to the crowd, or really looking at them at all, isn't going to cut it.

 

30STM does a really good job of being engaging, but they go off the deep end and use it to avoid actually putting on a performance for most of the gig.

I can see Muse trying to adopt the stuff that band does, while still not really "getting" why it works, unfortunately.

 

Then again, I really, really loved 30STM's early work, and especially during the s/t era they were basically Muse with literally no interaction with the crowd whatsoever. And I loved those gigs a ton.

Muse adopting the crappier aspects of current 30STM is doubly sour for me. :LOL:

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Perhaps live we will get to hear it as the heavier version Matt originally talked of....

"The verse of the song, originally, was probably a lot more heavy-sounding than it is now, in terms of [having a] much more arena sound, drum kit kind of thing. But we wanted to experiment with programming the verse and go for more of a slightly trap or 808 drum feel for the verses, which took the song in a bit of a different journey.nothing" - Rolling Stone

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Those San Junipero vibes though.

 

This. Maybe in the next video they’ll be wandering around in Star Trek style costumes.

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Perhaps live we will get to hear it as the heavier version Matt originally talked of....

"The verse of the song, originally, was probably a lot more heavy-sounding than it is now, in terms of [having a] much more arena sound, drum kit kind of thing. But we wanted to experiment with programming the verse and go for more of a slightly trap or 808 drum feel for the verses, which took the song in a bit of a different journey.nothing" - Rolling Stone

 

Nah. That version has gone the way of the original Follow Me, I'm afraid.

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Those San Junipero vibes though.

 

This. Maybe in the next video they’ll be wandering around in Star Trek style costumes.

Or alternatively they'll have visuals only available through augmented reality contact lens/brain implants/eye chips.

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Perhaps live we will get to hear it as the heavier version Matt originally talked of....

"The verse of the song, originally, was probably a lot more heavy-sounding than it is now, in terms of [having a] much more arena sound, drum kit kind of thing. But we wanted to experiment with programming the verse and go for more of a slightly trap or 808 drum feel for the verses, which took the song in a bit of a different journey.nothing" - Rolling Stone

 

I did find that funny. So, when Matt (recently) talked about this track being "quite heavy".... he was referring to an older version they didn't record? :chuckle:

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I think that heavy version only has more distorted bass and vocals...

Or maybe something like Crying Shame?

 

Still love this song though...

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I like that it had a Corvette.... but in all seriousness this is nothing like I was expecting. Definitely sounds like something made for the US crowd. Also that thriller dance scene

 

Hmm...I must admit that I listen to pretty much no pop music (besides when my daughters are playing music in our cars and such), but would this even be appealing to the US crowd?

They are no longer raw and hard enough for rock fans in the US to like them and besides Madness, pop fans don't care. At least that is what I find among people I know.

 

All I know is that for me, OOS, Absolution, and Black Holes were masterpieces (and to a lesser extent Showbiz and The Resistance) and that T2L and Drones, while they had their moments, were not at the same level. Dig Down is OK at best and this new song is maybe a little better.

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I actually like the song. The backing vox are trash and the structure is boring as all hell, but fuck me if it isn't fun and catchy.

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I think it would have been better or at least less repetitive with the millennial chants coming in later in the song, starting with just bass and theremin in the the first chorus, and then having the solo be a bit more of a guitar improv rather than a repeat of the same damn melody again.

 

Now we have the intro, choruses and solo with the exact same damn melody. That's a bit much.

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Bitten by parts are freakin awesome. Matt's vocal delivery is pretty good, reminds me of older days.

 

Think this is my favorite single post-Resistance era.

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The thing is, it shouldn't matter at all. A band should be able to give 100% no matter what, and I've seen plenty of bands give amazing performances to dead crowds (mostly opening acts, tbf.) And the band needs to realize that crowd engagement is largely in their hands.

Muse got off easy for the early part of their career in the UK/Europe having gotten massively popular relatively quickly, but when they need to sell themselves to crowds, like the smaller US gigs, not saying a word to the crowd, or really looking at them at all, isn't going to cut it.

 

30STM does a really good job of being engaging, but they go off the deep end and use it to avoid actually putting on a performance for most of the gig.

I can see Muse trying to adopt the stuff that band does, while still not really "getting" why it works, unfortunately.

 

Then again, I really, really loved 30STM's early work, and especially during the s/t era they were basically Muse with literally no interaction with the crowd whatsoever. And I loved those gigs a ton.

Muse adopting the crappier aspects of current 30STM is doubly sour for me. :LOL:

 

I'm speaking from my own perspective not Muse's. I saw QOTSA a few weeks ago (again) and was in a dead area for the first chunk of the set. The band were on top of it but my night still greatly improved when I wasn't around people just bobbing their head.

 

And at least I wish I could see 30 Seconds to Mars again as the last time I barely saw anyone on the stage besides Leto. The band was like tucked into a corner. The acoustic version of The Kill was my favorite part since it cut out all the fluff.

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I get wanting more crowd interaction, but sometimes stuff like Homme's 15 minute drunken monologues to the pregnant woman in the first row gets old.

 

King Gizzard were like the opposite of this. They just came out and played, going from one song to the other in the blink of an eye.

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Although I listened to the song on YouTube, I couldn't be bothered to pay attention to the video. Actually not even the audio was worth my attention. I still don't like this sort of Queen-wannabe style. The song is so repetetive, doesn't go anywhere, feels pointless and forgettable. *sigh*

 

 

https://www.rollingstone.com/music/features/watch-new-muse-video-for-thought-contagion-w516730

 

He had the opportunity to explain the "Final Solution" line.

 

He didn't.

 

What are the chances he didn't even know what he wrote there?

Wow, that interview made me grumpy. I can't believed Matt replaced the theremin. What a shame. And the verse was heavier!

He has weird ideas of what makes songs great and no idea about what fans like.

"If anything, what we're going to wind up with here is an album where all the songs are going to be better." and "I think it'll be our greatest album in terms of the quality of individual songs."

 

And regarding gigs: Can't they just be all about the music like they used to?!

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Although I listened to the song on YouTube, I couldn't be bothered to pay attention to the video. Actually not even the audio was worth my attention. I still don't like this sort of Queen-wannabe style. The song is so repetetive, doesn't go anywhere, feels pointless and forgettable. *sigh*

 

 

I don't get any queen-wannabe vibe from this one. The millennial chants sound like a dime a dozen, but not like queen-style harmonies this time.

 

In fact, if there is anything positive to say about this song, it's that it doesn't sound like anything they've done before. Sadly, in this case, that counts as a negative as well.

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What are the chances he didn't even know what he wrote there?

 

Yeah, I'm not sure what would be worse...

 

If he didn't, I suspect he picked it up online somewhere and didn't get the reference.

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Did think it was cool when he said that sci-fi synth is actually his voice, just heavily modified and pitched up.

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Defector was lusssshhhh

 

Reapers and Revolt were pretty cool as well imo.

 

Defector is decent, just soiled by the rest of the song for me I guess.

 

Reapers was a bit all over the place - only part I really like is the whammy part at the end when it comes back to the chorus progression - and Revolt while working in context of the song was ehh.

 

Now that I think about it, the last time I was really impressed by Matt's guitar work was probably Animals.

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