With dramatic flair, he intones "your true emancipation is a fantasy," which. And titans shall clash as Bellamy speaks with the conviction of a man who is either going to tell us they'll never take our freedom or to release the kraken.
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For about 45 seconds of "Supremacy", they actually sound like a real band, immediately after which hushed military snare rolls, chesty timpanis, and anticipatory string wells lead you to believe Matt Bellamy has unwittingly sauntered into a Michael Bay movie or Metallica's symphonic tragicomedy S&M. Wait, this is Muse we're talking about, right? Hear me out, because the first half of The 2nd Law does indeed indicate that Muse have absolutely no interest whatsoever in staying within the boundaries of good taste. It's not, and the problem isn't that Muse have gone too far.
Having seemingly mastered all modes of excess, you'd think The 2nd Law would be Muse's unimpeachable triumph. It's the last frontier for a band that's only now integrating those sandworm basslines but whose music has always provided listeners with equivalents of "the drop"- a glass-shattering falsetto run, Wagnerian crescendos, solos that are gunning for the one tab per month in Guitar World that's from the last decade. On the other hand, of course Muse would eventually glom onto EDM.
However you think Muse fits into the lineage of Queen or Rush musically, they've benefited greatly from establishing themselves as a last bastion of technically boastful and very popular prog-rock that's always implicitly held unkind attitudes toward synthesizer-based music.
Of course Muse fans would storm the YouTube comment section with bloodthirsty vengeance. "MUSE GOES DUBSTEP!!!" created a minor firestorm, albeit one that was containable because it was utterly predictable. And we always oscillate between those two things, and create something a bit different than both those things.When Muse released the "trailer" for The 2nd Law, it was the kind of preemptive shock tactic you typically expect from a record that has a lot riding on it. Speaking to Apple Music in 2015, singer Matt Bellamy recalled a night when bassist Chris Wolstenholme literally got stuck in an elaborate stage platform during a show-what Bellamy called “the Spinal Tap moment.” “There’s a seriousness in what we do,” Bellamy said. Still, the band has always maintained a good sense of humor about themselves. Though their approach has shifted and evolved over the years (the classical inflections of 2003's Absolution, the hard rock of 2015’s Drones, the electro sheen of 2018’s Simulation Theory), the core of their sound has stayed the same: Take something big and make it bigger.
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Formed in Devon, England, in the mid-’90s, the trio fashioned themselves as a modern answer to ’70s prog, mixing Queen-like arena rock with electronic music and glam, layering their sound with narratives about drone warfare, government oppression, the idea that we’re all just lines of code living in a program we call reality-blockbuster fantasies that restored rock to a state of wide-eyed wonder. The stage never happened, but the point stands: Few bands go as shamelessly big as Muse. To get a sense of where Muse is coming from, consider that in 2016 the band was venturing to design a stage made of magnets so it would look like they were flying-like superheroes.