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What do you think?  

791 members have voted

  1. 1. What do you think?

    • Sounds awesome.
      590
    • Sounds good.
      141
    • Sounds OK.
      50
    • Doesn't sound good.
      5
    • Sounds terrible.
      5


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I don't want to either, but I'm afraid I have to willpower to resist. :supersad: I should really back away slowly from my laptop right now.

 

i'm about two seconds away from un-bookmarking every single muse-related site until the release date.

 

foolish? perhaps.

 

yet, i'm a quasi-fool, so...yea.

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It makes me think of New Born and Thoughts For a Dying Atheist. But i've really no idea why the second... Oh, and a Fillip middle section meets GOB edit Assassin middle section.

 

Looking forward to hearing the proper version! :D

 

Aaarrgh! It's torture! I can't handle the truth!

 

*throws laptop across room (just with my mind, not really, 'cause I'm not an idiot.)*

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I don't want to either, but I'm afraid I have to willpower to resist. :supersad: I should really back away slowly from my laptop right now.

 

i believe in you renee! :kiss:

we are strong :D

 

i'm about two seconds away from un-bookmarking every single muse-related site until the release date.

 

foolish? perhaps.

 

yet, i'm a quasi-fool, so...yea.

 

me too, I'm staying away from the boards etc. after september 10th (when that supposed leak is supposed to come out). I almost don't want to go on the boards at all right now due to the lyrics that people keep referencing :mad:

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This just in.

 

3:40 - 4:00 on http://www.youtube.com/watch?v=7PMKk3sLgVo

 

=

 

5:10 - 5:38 on Space Dementia.

 

The 3rd note on Unnatural Selection is played lower but the resemblance is still there.

 

It is practically the same thing, which is a little disapointing really. Just like the main guitar riff is a little like New Born too. It's as if I had heard nearly half the song, but just didn't know lol. Thats not to say the song doesn't sound good, but you definately wont be hearing this track anywhere near either of those songs.

 

[Edit]This may annoy a few people, but does anyone else think the intro sounds a little like the intro of Who Wants to Live Forever by Queen?

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Here's my attempt at a structural breakdown. Please correct any errors, etc...

 

:00 -- :31 intro (is that a Mellotron on organ mode?)

:31 -- :55 guitar riffage!

:55 -- 1:19 stanza (the theme of language and communication... "I wanna speak in a language you'll understand..." fits both Matt's personal life and professional one.)

1:19 -- 1:46 chorus (x2)

1:46 -- 1:58 dunno what to call this section... transition, breakdown, a second chorus, or B-chorus, or titular chorus? ends in references to unnatural selection and "I want the truth"

1:58 -- 2:09 guitar riffage again, but only half as long as in the intro.

2:10 -- 2:33 stanza

2:33 -- 2:58 chorus

2:58 -- 3:12 another titular chorus, or whatever it should be called

3:12 -- 4:07 bridge/middle section (instrumental; very ominous-sounding 7-note figure)

[3:39 "Uno" riff, for only a couple of seconds]

4:07 -- 4:35 bridge/middle verse

4:35 -- 5:00 bridge/middle guitar solo (wailing, spare, restrained, and then it opens up to a fuller arpeggiated, flanged[?] figure... beautiful!)

5:00 -- 5:30 bridge/middle verse

5:30 -- 6:02 chorus (x2)

6:02 -- 6:23 titular chorus

6:23 -- end outro solos (really ferocious on bass!)

 

Very complex and proggy, and I don't know how to classify all those bits.

 

Stray thoughts: why was the cameraman focusing so exclusively on Dom? Are the others going to get shorted in the film, or were there other pro cameras shooting Chris and Matt that we can't see in this clip?

 

I loved Matt's whooping vocalise at the 1:57 mark. He even whoops it up in a more musically intricate, beautiful way than other singers!

 

Also, Matt's big wail at 4:07, followed by some terrific, emotive singing. His singing touches on several different styles in this song, and I like that. Speaking of which, he was really in control of his voice in every way -- great attack on the notes, smooth, strong, still with terrific sustain for the elongated phrases, and with much less obvious breathing sounds -- always a divisive issue for the fans. Undoubtedly the mixing of singing techniques helped on this count -- the opening stanzas used a more conversational, clipped style that didn't tax his lungs from the get-go. Especially WRT touring, this strikes me as a smart strategy.

 

In the bridge/middle verse section, the relative silence and stillness open up the song for a moment, and it was here I really noticed Morgan on that [Mellotron?], at the 4:20 mark.

 

I really loved the frenzied guitar riffing & bass metal chords in combination, and I generally hate heavy metal-style crunchy chords... but that aspect seemed duly limited or confined to short bursts, and balanced against other, very melodic, soaring, and bombastic parts. Even if no other song on the album had real guitar riffage on it, this one song might just be enough to keep me content on that count, which is saying something. (If that was the case, I'd be hoping for a lot more on the next one, though.)

 

I'm still surprised by how much I love this song now, compared to how wary and pessimistic I felt about it after the 30-second teaser. The difference is both hearing the whole thing, of course, but also how Muse opened it up live... again! Even when they toss out Costey and produce themselves (very well, to my ear), they still manage to exceed the album's sound in concert, and it's not even a close call!

 

How the heck do they keep managing that trick, eh? Well, it's good for them... their "gotta see 'em live!" mystique will live on with this album, in spite of its sounding better from the get-go.

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