77 – Feeling GoodĪ decent cover, but “Feeling Good” is overplayed and underdeveloped. “Falling Away With You” has had a bit of a resurgence in the fandom recently, but I still think it’s the weakest track from Absolution.
BEST OF MUSE FULL
The choruses are far too broad for me to enjoy, but the verses and bridge in “Won’t Stand Down” are full of metal goodness. It’s not as polished as songs from their later works, but “Sober” from their debut album has an underrated chorus. I believe “Uno” was the first single they ever released, and it was a solid start to their career. 82 – Follow MeĪ bit like with “Dig Down”, “Follow Me” gets its fair share of hate nowadays for being too electronic, but it’s catchy as hell. “Unsustainable” used to be my absolute least favourite Muse track, but after hearing it live I appreciated it a lot more. The Alternate Reality Gospel version is the better option. 84 – Dig DownĪ song Muse fans love to hate, but I think it’s decent. The other Chris Wolstenholme effort from The 2nd Law, and I like “Liquid State” a lot more than “Save Me”. I used to think “Aftermath” was one of Muse’s most underrated songs, but it got old quick.
BEST OF MUSE CRACK
In a few listen’s time it may even crack the “Good” tier. “Guiding Light” used to be one of my most loathed tracks, but the more I listen to it the more I kinda dig it. It has its moments, but I’d rather skip it. One of my most controversial takes – “Hoodoo” is far too pretentious for me to enjoy, and it’s overrated massively in the fandom.
89 -The 2nd Law: Isolated SystemĪ decent instrumental track, but a bit of a tame way to end an album. Some fans love this, but I’m mixed on it. “Liberation” is the Queen-iest that Muse have ever gone. 91 – Falling DownĪn early attempt at a more bluesy sound, and I’m glad they moved away from this ’cause it doesn’t suit them. “Euphoria” acts a bit like the “Revolt” or “Get Up and Fight” of the most recent album, but it’s a lot more openly fun and upbeat. 94 – EscapeĬhris Wolstenholme has gone on record saying he really liked “Escaped” and thought it was one of their best … really? Are we talking about the same song? 93 – Overdue
95 – Big FreezeĪnother decent song let down by its choruses, “Big Freeze” is trying too hard to be a U2 song. The choruses are annoying as heck, but it’s relatively harmless.
A terrifying classic.I loathed “Compliance” when it first came out as a single, but it’s grown on me ever so slightly. Recorded as Bush and Blair (illegally) invaded Iraq, it was also the beginning of Matt Bellamy’s political awakening, his vague theories on life, the universe and Everything They’re Not Telling You finding focus amid a flurry of metaphors about kidnap, female orgasms, secret organisations controlling the Earth and fleeing the planet before an inevitable – indeed, welcome and long overdue – Armageddon. ‘Apocalypse Please’ remains the most artful and successful of Muse’s big album-opening stomparamas, ‘Butterflies And Hurricanes’ is still their best operatic epic and the initial rush of ‘Time Is Running Out’, ‘Sing For Absolution’ and ‘Stockholm Syndrome’ never gives way to a late-album lull, the quality never wavers right up to the magnificent ‘Ruled By Secrecy’. At the time ‘Absolution’ sounded immaculate, filler-free, the best rock album of the decade, and my opinion of it hasn’t changed since.
At a preview listening at the Planetarium, its space rock wonders roared by accompanied by a dazzling tour of the Milky Way beamed onto the dome screen, a perfect audio-visual combination akin to listening to Slipknot’s ‘Iowa’ in an actual abattoir. Plus, if ‘Invincible’ had been the UK’s Olympic song, we’d have won every gold going.Īs the bloke who turned up on Take Me Out dressed as Riff Raff from The Rocky Horror Picture Show preparing to conduct the Royal Philharmonic Orchestra found to his cost, first impressions count, and my first impression of ‘Absolution’ was unbeatable. With ‘Supermassive Black Hole’ and ‘Starlight’ as its chart-bothering calling cards, ‘Black Holes…’ tackled energy depletion, political misdirection, war and, um, jousting Martians with a rigorous rock attack and one eye on the dancefloor. Muse’s most solid and focused pop collection, clocking in at 45 minutes including the gargantuan gallop into radiant ridiculousness that is ‘Knights Of Cydonia’. Classic Muse tropes of oppression, subversion and escape came together into a rounded narrative concept, which Muse indulged to thoroughly that they came out needed a bright neon antidote. The most cohesive of Muse’s recent output, ‘Drones’ came into its own on the tech-blitz tour, with ‘Mercy’ becoming a bona fide set-closing anthem, ‘Psycho’ a space rock pile-driver and ‘The Globalist’ an evocative epic worth flying a gigantic inflatable through the middle of.
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