5/5 British Ingenuity
  by Mr D. (Cave Creek, Az United States)
If you are wondering if Muse's fourth studio album - Black Holes and Revelations is good, let me assure you, it is not only good, it's bloody well GREAT.

I thank my son for turning me on to Muse. Honestly, they are about the only thing musically that we have agreed upon recently. We used to have some common likes in the nineties but both traveled different roads in Y2K, he going the Hip Hop route and I heading to Europe for a dose of Femme and Symphonic Metal.

Muse of course, is neither, although they are European (UK). In the case of Black Holes and Revelations, their music is so wildly varied it defies labeling. From the angelic, harpy sounding, bombastic lead song - "Take a Bow," to the catchy rock song with piano and a strong beat - "Starlight," to the funky bass driven sound and high pitched falsetto vocal of Matt Bellamy - "Supermassive Black Hole," one might suspect they were listening to three separate bands.

Following songs like the complex, involved - "Map of the Problematique," the short but sweet slow ballad - "Soldier's Poem," the spacey Floydish slow paced, building toward a crescendo - "Invincible," to the speedy guitar driven - "Assassin," would only reinforce the feeling of different bands playing different music but sharing the same lead singer.

"Exo-Politics," a medium speed, percussion led rock number, is followed by the wonderfully complex flamenco sounding, "City of Delusion." The flamenco influence continues in, "Hoodoo," but is interrupted by a strong classical and operatic intrusion of piano and vocals. The last song, "Knights of Cydonia," is a kaleidoscope of interesting sounds and Queenesque vocal harmonies, set to a galloping beat. It is close, but this gets my vote for best song.

Song Track List
1. Take A Bow (4:35)
2. Starlight (3:59)
3. Supermassive Black Hole (3:29)
4. Map of the Problematique (4:18)
5. Soldier's Poem (2:08)
6. Invincible (5:00)
7. Assassin (3:31)
8. Exo-Politics (3:53)
9. City Of Delusion (4:48)
10. Hoodoo (3:43)
11. Knights Of Cydonia (6:06)

Band Members
* Matthew Bellamy - guitar/vocals
* Chris Wolstenholme - bass
* Dominic Howard - drums


Conclusion

It took four long years for the band to come up with a follow-up to there hit album, Absolution, but the wait was worth it. In my estimation, they not only equaled Absolution with Black Holes and Revelations but eclipsed it.

When listening to Muse I cannot help but make comparisons to the mega band of the eighties and nineties - Queen. Yes, there are definite similarities to that wondrous band: diverse, eclectic song writing, ranging from the simplistic to the grandiose; style and delivery are in many cases similar to Queen; composition and arrangements also resemble Queen and lastly their vocals and harmonizing again, remind me of Queen. Yet, with all the similarities they are so different. Yes they remind me of Queen but I didn't say the sound like Queen. Maybe a little here and there but overall, they're Muse.

Until now my favorite Muse album was Origin of Symmetry. I doubt whether I will get Black Holes and Revelations out of my Cd player for awhile. It's not the kind of album that gets old very fast - five stars.

5/5 Is it change, or evolution?
  by Jeff Hodges (Denton, TX United States)
It's always a troubling issue when your "new favorite band" changes their sound. However, this issue is much less troubling than the potential release of carbon copy work based on the tunes that initially endeared them to you. Whether a band can navigate this delicate issue is a testament to their talent and vision. For example, Oasis was never able to recover from the sonic delicatessen that was "What's the Story, Morning Glory?" and despite the greatness of that album, their fame ended up being of the infamous "fifteen-minute" variety. On "Black Holes and Revelations," Muse's made a decisive yet subtle sonic shift, and one that is not as pervasive as some critics would have you think.

Thanks to reviews, I had mentally prepared myself for this possible shift in Muse's sound long before I bought the album. I expected the worst, but in the end, "Black Holes and Revelations" hardly turned out to be the major change of direction that some critics have made it out to be. Admittedly, there is a little more use of the "studio as an instrument," which challenges the "liveness" of the album. "Black Holes" prominently features trumpets, orchestras, and drum machines that confront my visualization of Muse's ability to reproduce these songs in a "power trio" format.

However, this initially unfounded criticism quickly gave way to the indisputable fact of the raw talent and vision of Muse as a whole. The songs on "Black Holes and Revelations" exude the same raw intensity and passion that "Absolution" exhibited. While there is a little more "studio" window dressing, the voices of the musicians in the group are strong and confident. The compelling mix of Jeff Buckley, Radiohead, and Rush that I perceived on "Absolution" is still perceptible, sometimes additionally tempered by a little Prince, Beck, and maybe even more recent work by Adrian Belew.

Admittedly, I get a personal kick out of comparing Rush to Muse, since there really aren't many bands that I can in indulge in doing so. In all honesty, "Rush-ness" is just a small component of their sound, but one that is an old friend of mine. In the case of "Black Holes and Revelations," this element of their sound brings to mind "Power Windows," when Rush began to fully integrate the synthetic nature of the studio in their sound. This perception is undoubtedly influenced by Muse's use of subjectively inspirational text and orchestral sounds on my personal fav "City of Delusion," a tune that reminds me strongly (and nostalgically) of Rush's "Marathon." However, I would stop short of saying that this influence is direct.

The Lowdown: I can't seem to take "Black Holes and Revelations" out of my CD player, no matter how many times I spin it. While it may be a little more overtly political in its lyric approach than its predecessor, it is still a musically strong and relevant statement. It may not quite beat out "Absolution" as my favorite Muse album, but I somehow would feel wrong if I gave it any less than five stars. In fact, it may be my personal "album of the year," a title that is only contested by Mew's "And the Glass Handed Kites," an album that Muse's fans will most likely dig.

5/5 You will burn
  by E. A Solinas (MD USA)
Muse broke out internationally with their stellar third album "Absolution," after two albums of just-as-good-but-not-well-known work.

Now they've returned with "Black Holes and Revelations," a simmering symphonic rock tapestry that expands their sound into darker territory. It's also more electronic in nature, but the core of the band still lies in their magnificent, haunting rock'n'roll and classical arrangements.

It opens with a rippling keyboard melody, which blooms out into a soaring guitar melody and lots of blippy electronica. That feeling only grows as Matthew Bellamy starts to sing of death, damnation, and corruption. "You behold/And beholden for all that you've done/And spin/Cast a spell/Cast a spell on the country you run/And risk/You will risk/You will risk all their lives and their souls..." Political? Sounds like it.

Muse heads towards more pleasant territory in the bittersweet, yearning "Starlight," as well as soft mournful balladry, and wistful pop that blossoms out into spare, sizzling electro-rock. Bellamy shows the beauty in the bleakness when he sings, "During the struggle/They will pull us down... Let's use this chance/To turn things around/And tonight/We can truly say/Together we're invincible."

But the heart of Muse is still in rock'n'roll, like Led Zeppelin fronted by Beethoven. They still specialize in walls of embroidered sound, like elaborate rock tapestries. They play symphonic rock that sweeps all over the board, explosive bass-laden rockers, and fast-paced violin rock that ends with a whisper.

Muse hasn't abandoned their sound in order to go mainstream, even after making it big on this side of the pond. Their music is still dark, lacking in hope, and meditates on wastelands, glaciers and how "There's no justice in the world/And there never was." In case you were wondering, this is not fun music.

Don't be worried about the electronica. Muse only really goes dancy on one song: the twisted love song "Supermassive," which has a hypnotic dark beat. The rest of the time, it's just another instrument in the mix. Alongside the typical rock instruments, Muse adds in cascading piano and violins, as well as a glorious trumpet and some gypsyish acoustic guitar.

Matt Bellamy has that soaring, angsty voice that would sound emo if it weren't so powerful. As it is, his pipes are strong enough to soar over the complex hard-rock, but can also drop down to a soft ballad. "You'll have to set us free/Watch our souls fade away/Let our bodies crumble away/Don't be afraid/I will take the cold for you..."

Muse score another win in their dark, powerful fourth album, full of spacey electronica and sweeping hard rock. A must-listen for 2006.

5/5 Anticipation, Revelation, Complete & Utter Admiration
  by Joel Kathrens (Cheney, WA USA)
Finallly got this one the other day and have been listening ever since. I worked myself into a frenzy by waiting a month before I actually bought it, in the meantime listening to Supermassive Black Hole only and reading countless reviews (but never listening to samples).

While I was not immediately blown away when I finally hit 'play' for the first time, I was very impressed with their musical direction. This is not Absolution pt. 2 just as that album was vastly different from both Origins Of Symmetry and Showbiz. The attitude is the same, however, and the feeling I get from listening is similar. This ability to significantly shift musical styles yet still retain the quality is an aspect to Muse's music I enjoy, and where I actually think they most closely resemble Radiohead.

Speaking of Radiohead, this should be the album that finally breaks Muse free of the constant 'sounds-like-Radiohead' criticisms... though they might be replaced by 'sounds-like-Queen' ones (which was always there, albeit more in the background). The genuine way these guys embrace the dramatic has certainly not been seen since Queen, and having the guts to take what many bands would consider huge aesthetic risks actually works significantly to their benefit.

On their new album, they manage to merge synth-pop, progressive rock, metal, flamenco guitar, classical piano, and operatic vocals into a set that is completely cohesive. It also has that 'album' quality where, listened to from start to finish, the whole is greater than the sum of its parts. There are a few tracks I don't think hold up that well individually, but manage to work within the context of the album. The tracks are as follows:

1. TAKE A BOW
This recalls Absolution's opening track, Apocalypse Please, in feeling and is built around similar synthetic arpeggios. Halfway through, it breaks into a dramatic rocker warning our leaders of dramatic things like "burning in Hell for crimes against the Earth". This track will carry you away all by itself, but is even more effective as the blasting-off-vessel that begins the ride through this album. So begins the space opera. 9/10

2. STARLIGHT
This begins the ride through space, and the view is awe-inspiringly beautiful. This track seems most like a synth-pop song on the album... very melodious and simple synth and piano, heartfelt lyrics, and a nice balance in the other instruments. Probably the most controlled song on the album, yet it still feels fresh and original. 10/10

3. SUPERMASSIVE BLACK HOLE
A little controversial among fans. When I first heard it, I double-checked whether I downloaded the right track. Yep, this was Muse. I was confused, disturbed, intrigued, and finally downright impressed. This is catchy as hell, and makes a good single. On the album, it actually feels appropriate in its spot. Lyrically, it seems to be the dark turn of events hoped against in Starlight. It feels the same musically. Darkness rearing its ugly head in all its pop-trash glory. 9/10

4. MAP OF THE PROBLEMATIQUE
The album begins to feel like a relentless assault on all the right buttons at this point. This track begins with a synth and guitar combination that recalls Enjoy The Silence. It's just enough to produce those same pleasant endorphins as Violator-era Depeche Mode without sounding like a ripoff. The song drives on in another direction anyway. Lyrically, it feels like the close of the trilogy that began with Starlight. Hope turns to Anger turns to Despair. It's dark stuff. I love it. 10/10

5. SOLDIER'S POEM
We get our first breather of the journey for a song that seems to be from the point of view of a dissenting soldier. It holds up well with other slow and melodic Muse songs, and adds some very Queen-like vocal harmonies. It's a little too short, and is one of those songs that doesn't hold up as well on its own, but fits in nicely within the album. 7.5/10

6. INVINCIBLE
This begins a trio of songs that, while not bad, do not have the freshness in ideas that elevate the rest of the album. It seems every Muse album has this section for me. All the songs usually win me over in the end, but this is my current least-favorite. It ends with a very cool riff, but until then has an anthemic feel that does not dodge the "cheesy" moniker as deftly as the rest of the songs do. It will grow on me. 6/10

7. ASSASSIN
Didn't care for it on the first listen... it's the hardest of the bunch. It's the first time I feel assaulted in an unpleasant way. I can't remember which time through the album it was, but this song finally clicked for me. It's supposed to be a little unpleasant. It's a call to arms. I'm not ready to join yet, but I can see the appeal. Could become a favorite in time, but right now it feels like it's missing something. Maybe another unique synth arrangement would help it, but I can't help thinking what's really missing right now is time and repeated listening. 7/10

8. EXO-POLITICS
Interesting song about Alien Mind Control by "Zetas In The Sky" that is really about the way that people allow the government to think for them. The result is the same. The song unfortunately feels like something that would have been a weak track on OK Computer. Musically it is competent but like the previous two tracks is bereft of the ideas that elevate the rest of this album. 7/10

9. CITY OF DELUSION
I was initially disturbed. Flamenco guitar? I realized from my experience with Supermassive Black Hole that disturbed feelings were probably a good sign so I decided to trust the band here. Glad I did because this song really brings me back into the album. It feels like an exciting and new journey again as the flamenco gives way to driving rock, and then folds the Spanish-sounding influences back in again. 8/10

10. HOODOO
Cannot understand the negative opinions I've read on this one. It beautifully blends all the different settings on the Muse-ship with the Spanish guitar of City Of Delusion and the best classical piano on the album. I don't miss the piano in the rest of the album until I hear it used so well here. Perhaps more piano could have added life to a couple of the middle tracks. This is the perfect precursor to the final epic space battle. There is much foreboding. Probably also better on the album than it would be on its own, but still... 9/10

11. KNIGHTS OF CYDONIA
This is it. One for all the marbles. And Muse wins them. Another reviewer pointed out that this song has no vocals for over two minutes. You barely notice among the horses, lasers, and just plain exciting music. I almost didn't even notice the vocals start as they are folded in just like another instrument. Then, the song breaks into a dramatic rock spectacle with three part harmony. "No One's Gonna Take Me Alive / And You And I Must Fight For Our Rights / You And I Must Fight To Survive" I believe it. I want to sing with them. I want to join their fight. I think maybe I am being overcome at this point. Then it rocks out. I almost wanted one MORE shift for the song to continue, but maybe I'm asking too much. It's already 10/10.

12. GLORIOUS
Some of you will end your journey with the final battle and miss the Glorious celebration afterward. If you feel robbed like I did, you'll go download this track so you can join the party. I've only seen it offered on iTunes as part of the album (you can't get it as a single song). Some feel Knights is the appropriate end to the album, and going out on a high note has its appeal, but I feel like this ties it up better. I haven't listened to it as much as the other tracks yet, but it is definitely worth seeking out to complete the listening experience. 8/10

The album is nearly perfect, only marred by an ever-so-slightly saggy middle that is actually pretty darn good as well. I thought nothing could beat Thom Yorke this year, but I think this is my new frontrunner for Album Of The Year. Time will tell which one holds up better. I began this review thinking I would end it by saying "Black Holes And Revelations" is a close second to "Absolution" and a worthy addition to the Muse catalog. However, I've listened a couple more times while writing this review. It's their best. Buy it if you love music.

Joel


5/5 Best album of 2006 so far
  by Blue Gardener
I looked forward to the release of this album with great expectations, and my expectations were fully met. Muse's fourth CD seems to slightly outshine the band's previous album Absolution, but comes a bit short of the spectacular albums Origin of Symmetry and Showbiz. Still, Black Holes & Revelations should satisfy any loyal Muse fans out there with its catchy hard rock jams and heartfelt softer pieces. As usual there are plenty of neat musical patterns to enjoy, with electronic voices in "Supermassive Black Hole", mystic synthesizers in "Take A Bow", and low-toned throbs in "Knights of Cydonia". Like Muse's prior albums, Black Holes & Revelations gives the impression of a variety-filled performance which overall almost seems like a musical drama coming right out of the CD player, and with each song having a significantly different sound the music constantly succeeds in holding your attention. The first four songs are probably the most appealing, though the last song, "Knights of Cydonia", is definitely one of Muse's best for its use of horse sounds, synthesized rhythms, and catchy main line when three different sounding recordings of Matt Bellamy's voice are played on top of each other for a very neat-sounding end result. "Map of the Problematique" cleverly uses an electronic guitar pattern to set the rhythm for a great hard rock melody, and is reminiscent of my favorite Muse song "Citizen Erased" from the Origin of Symmetry album. The very first song "Take A Bow" sounds like something you might find off Absolution, using the fast-paced synthesizers evident in "Apocalypse Please" and "Hysteria" towards the beginning, but veering into an electric guitar slam in the middle which makes it one of the best tracks on the CD. Then there is the great song "Supermassive Black Hole", which is a hit I believe and reasonably so, for it has superb guitar riffs and Matt Bellamy uses a tone of voice which almost sounds like Beck, who I am also a big fan of. Muse has never really made a song like this one, whose use of whispers, electronically produced voices, and different tone of voice for Matt Bellamy produces an almost completely different sound for the band which is just as good as a typical Muse single. Overall, Black Holes & Revelations is an outstanding album which is necessary for any fan of Muse to own, and for that matter any fan of rock. Fans of Keane who have a hard rock side also would likely appreciate this album also, especially for the song "Starlight" where the melody and vocals sound a lot like something Keane would come up with. As for the DVD, it has a cool design and the live performances are somewhat interesting. The best portion of the DVD is the "Extras" section, where you can find live performances of songs not on any main Muse album.I would give this album a full five star rating and very much think it is the best CD to come out yet this year, though The Strokes and Three Days Grace have recently released awesome albums as well. Don't delay to purchase this CD, it's an amazing album!