In Focus: Muse

This time around, I am taking a deep dive into the music and history of the UK trio Muse, whom I have long been interested in exploring, but never have until now. The band first came together in the early 1990s while all three were attending Teignmouth Community College in the town of the same name on the southern UK coast. Initially guitarist Matt Bellamy auditioned for the band Carnage Mayhem, with drummer Dominic Howard. Bellamy got the gig, and became their singer/songwriter as well.

Eventually, the two convinced the drummer from a rival band, Chris Wolstenholme to take up the bass and join in with them. He promptly signed up for bass lessons and the line-up took shape. They changed the name of the band to Rocket Baby Dolls, and assumed a gothic-glam style. When they won a local battle of the bands in which they destroyed their gear, the band decided to seriously pursue a career in music. They each quit their day jobs, left Teignmouth, and changed their name to Muse. They liked the short name, as it looks good on a poster.

After some time building a following, Muse got their big break by supporting a band called Skunk Anansie on tour dates in London and Manchester. Those gigs led to a meeting with Dennis Smith, who had a recording studio in Cornwall, in a converted sawmill, thus called Sawmills Studios. Smith had also partnered with producer Safta Jeffery in a production company as well as a record company/publishing company called Taste Media. Jeffery would also become the band's manager.

Although the band had made some basic demos previously, their first serious recording became a self-titled 4-song EP known by many as The Muse EP, released on Smith's in-house label, Dangerous Records. Three of the four songs would later appear in re-recorded form on their first full length album. Only Coma, which I have listened to and enjoyed, would not make it to a full-length album, but would be used as a B-side to another of the songs on the first EP, Cave. Based on “Coma”, the EP has a more raw sound than than the upcoming main LPs will have, but the basic Muse sound is there, with Bellamy's powerful vocals and high falsetto notes on occasion, heavy guitars and a tight rhythm section.

The EP was limited to 999 numbered copies, and 251 promotional copies. While recorded in 1997, it was released in May of 1998. A second EP, Muscle Museum followed in January 1999, on which I enjoyed the title track, Do We Need This? and Minimum. The release was done in the same manner as the first EP.

The band's first full length album was released in September 1999 on Taste Records, titled Showbiz. Many of the songs from the two EPs were re-recorded for the album. The album's producer, John Leckie, had previously produced Radiohead's 1995 album The Bends. The inevitable comparisons to Radiohead would follow, but I like Muse's sound much more.

It should be noted that by this time, Bellamy, who is the band's primary songwriter, had expanded into playing various keyboards as well. He puts them to good use on the bluesy ballad Falling Down. The band came with “fifty or so” songs, dating back to the start of their career, and in the end decided to release the most accessible ones on the album. Some of the other songs would see light as B-Sides or on a later release, The Hullabaloo Soundtrack.

As I am listening, the song Fillip has really caught my ear. Also, I must say that the bass lessons Wolstenholme took really have paid off, as the bass line of Cave really drives the song. In fact, that song is one of the first ones I am noticing with some prog elements. The album's title track has some prog vibes, too, and Bellamy shows off his unreal falsetto range.

There were five singles released from the album: Uno, Cave, Muscle Museum, Sunburn, and Unintended. The album is full of big guitar riffs, and surprising twists and turns. “Overdue” even has some meter changes. I love the slide guitar on Hate This and I'll Love You, it reminds me more of Porcupine Tree than Radiohead. This debut album did quite well, especially in the UK, where it reached #29 on the album charts. The album has sold at least 1.2 million copies as of 2018.

Another Muse EP was released in 2000, called Random 1-8 in Japan only to support their tour there.

The next full-length Muse album is 2001's Origin of Symmetry. The title comes from an obscure reference in a 1994 book titled Hyperspace, by theoretical physicist Michio Kaku, where Kaku suggested that “The Origin of Symmetry” would be a good name for a future book about the concept of hypersymmetry; if that isn't a prog level title reference, I don't know what is.

The opening track, New Born starts off with layered keyboards in a very prog style intro, before the fuzz-bass takes over. From the fuzziness of New Born, the shimmering intro to Bliss rises. One thing I am finding in taking this deep dive into Muse, is that I find their music to be highly engaging. Once I start listening to a song, I don't want to stop. I am listening to Space Dementia now and those piano arpeggios and the synth parts, mixed with the heavy guitars and rhythm section keep me focused on it.

The 7-minute Citizen Erased kicks in with a heavy groove after some controlled chaos on the guitar from Bellamy, then moves into a quieter section, and alternates between heavier and softer parts thereafter. There may even be some Mellotrons at play here; very proggy, indeed. The song Feeling Good is of particular interest, as it is a cover of a Broadway showtune written by Anthony Newley and Leslie Bricusse for the 1964 musical The Roar of the Greasepaint — The Smell of the Crowd. I am not sure how the original sounds, but Muse have certainly made it their own. I even find some similarities in Bellamy's vocal dynamics with VDGG's Peter Hamill. The synth sounds in Screenager remind me of ELO's Strange Magic. This album did even better than the debut, reaching #3 on the UK charts, as well as #2 in both France and Belgium. It did chart in the US, but not anywhere near as high, reaching only #162. By 2018, it had sold over 2 million copies worldwide.

Up next for Muse in 2002 is the combination of a compilation album of B-Sides and a live album called The Hullaballo Soundtrack. The first of the double CD set contains the B-Sides. The second disc is the soundtrack to their live video called Hullabaloo: Live at LeZenith, Paris. The live set is primarily composed of songs from Origin of Symmetry, two tracks from Showbiz and a few more obscure tracks. It hit #10 on the UK album charts, but #2 on the independent album chart, and all the way to #1 on the Rock & Metal chart there. Another event worth noting is that Muse threatened legal action after Celine Dion wanted to call her Las Vegas show Muse. She offered $50,000 to use the name, which the band owned performing rights for, and they declined. I assume she had to come up with a new name.

The next studio album is 2003's Absolution. While Muse may not be prog in the sense of using lots of odd-meters and lengthy symphonic structures, they are certainly not an “ordinary” rock band. Their music is big and dramatic with many prog elements. The first main track (after a very brief introductory track), Apocalypse Please, is a prime example of this. The UK top-10 single Time is Running Out reminds me a little of My Chemical Romance, who were about to make a big impact around this same time period. Stockholm Syndrome rocks hard with a great guitar riff and busy drumming. It reminds me of Porcupine Tree's heavier material, but not quite as proggy.

Hysteria begins with a phenomenal fuzz-bass riff. There are lots of effects on the vocals, but it fits the song. The instrumental break at 2:14 (and repeated at the end of the song) would fit on any prog-metal album you could name. The album continued building Muse's success, and hit #1 on the UK album chart, and has sold 3.5 million albums by 2018. A notable gig following Absolution was when Muse headlined the 2004 Glastonbury Festival in the UK.

Album #4 finally brought success to Muse in the US. Black Holes And Revelations was released in 2006. At some point between Absolution and this album, Muse left Taste Records and signed a deal with the major Warner Brothers Records to create their own label called Helium-3. The album contains the massive hit Supermassive Black Hole with its infectious funky beat. The song hit #4 on the UK singles chart and #1 on the UK rock and metal chart. In the US, it reached #6 on the Billboard Alternative Airplay chart. The album brought Muse into the Billboard 200 top ten for the first time with none of the previous ones even being close, peaking at #9. It hit #1 on the UK album chart and in several other countries, and top 10 in many others.

Other notable tracks include Knights Of Cydonia (Which is over 6 minutes long and very proggy), Starlight and Invincible. Knights Of Cydonia interestingly, was influenced by The Tornados 1962 groundbreaking hit, Telstar, on which Matt's father George performed. Assassin reportedly began as a long progressive rock song with a huge piano break before they trimmed it down; I would love to hear that version as it is one of my favorites from the album. Another favourite is City of Delusion.

The album continued the upward trajectory of Muse's career, having sold more than 4.5 million albums by 2018. The ensuing tour, among other things, saw Muse headlining the Reading and Leeds festival in 2006, and becoming the first act to sell out Wembley Stadium after it was remodelled in 2007. They sold out two consecutive shows, which were recorded and released as both a live album and DVD titled HAARP, released in 2008. Muse racked up several awards and accolades in this time period as well.

The next studio album, The Resistance was released in 2009, and contains the Muse song I am most familiar with, Uprising, which always reminds me of the Dr. Who theme. Uprising reached #37 on the Billboard Hot 100, but all the way to #2 on the Hot Rock and Alternative Songs chart. It is a double platinum single in the US with 2.7 million copies sold. The album itself hit #1 in many countries around the world, reaching #3 on the Billboard 200 Album Chart, but topping both the Top Alternative and Top Rock Albums charts. While all of that is impressive, the album is also notable for its title track, which reminds me of H era Marillion. I also quite like United States Of Eurasia (+ Collateral Damage), where I detect some Queen influence, mixed with middle-eastern-inspired melodies and classical piano. Guiding Lights is another amazing track.

But perhaps of most interest to prog fans is the nearly 13-minute three-part suite that closes the album Exogenesis: Symphony. The three tracks are subtitled Part 1 – Overture, Part 2 – Cross-Pollination, and Part 3 – Redemption. Bellamy composed and arranged the orchestral parts himself, and had worked on this piece for many years. He cites the following influences: “Rachmaninov, Richard Strauss, Chopin and Pink Floyd”. The suite is absolutely beautiful! Matt Bellamy's compositional, instrumental, and vocal skills have reached a new high on this album. It should be noted that drummer Chris Wolstenholme left the recording sessions for a while to check himself into rehab for alcoholism. He must have come out of it well, as the band headlined several festivals on the ensuing tour including Coachella, Lollapalooza, and Glastonbury (again). In 2010, the band were awarded the O2 Silver Clef Award for “Outstanding Contribution to UK Music”. The award was presented by Brian May and Roger Taylor of Queen, and Taylor referred to Muse as “perhaps the best live act in the world today”; high praise indeed. Additionally, it won a Grammy for Best Rock Album. The album has sold more than 5 million copies worldwide.

The next Muse album, #6, was released in 2012, and titled The 2nd Law. On this album, there seems to be more of an electronic music influence. The album, however is a concept album, based on the idea of a deteriorating planet, where its inhabitants can no longer survive. Bellamy exploits his amazing falsetto on Madness, which topped the Billboard Alternative Chart for 19 weeks. I like the funk-rock vibe of Panic Station. The classical music influences of the previous album are still present in the track Prelude which precedes the song Survival. Survival, in turn, has some Beatle-esque or ELO elements, before becoming heavier like their earlier work. I really love it!

Explorers is another song that really grabbed my attention. The guitar solo in Big Freeze shows a Brian May influence. The album is very engaging, but not as heavy as their early work. The melodies and rhythms are wonderful. This album also ends with a multi-part suite, this time in two parts, rather than three, and lasting nearly 9 minutes. The suite serves as the title track, with part 1 being subtitled Unsustainable and part 2 being Isolated System. Part one begins with a classical style introduction, before a female spoken word part with many “glitches” happens, then becomes a Vocoder part with a funky electronic groove; if ELO were recording today, this is what it might sound like. Part 2 begins with gentle piano, joined by synth. More spoken word parts overlap as a drumbeat comes and goes. It's interesting but not as accomplished as Exogenesis: Symphony.

The album once again topped the charts in many countries around the world, reaching #2 on the Billboard 200, but #1 on the Rock & Metal Chart. While charting well, it did not sell nearly as many copies as its predecessor, selling a respectable 1.6 million copies worldwide, compared to the 5 million of The Resistance. Another live album Live At Rome Olympic Stadium, followed up The 2nd Law in late 2013.

The seventh studio album, Drones, hit in 2015. It is a concept album about an abandoned soldier, who became indoctrinated as a “human drone” and eventually defected. It is critical of then President Obama's drone warfare policies. As for the songs, they show a return to their earlier heavier rock sound. I like Psycho with its modified Roadhouse Blues (The Doors) riff. The harmonies in Mercy are quite nice, as well. Reapers has some cool unison synth/guitar breaks, and a very heavy closing segment. The Handlers also has some great riffing. Aftermath is a nearly 6-minute ballad that builds up as it goes along.

The centrepiece of the album, however, is the 10-minute mini-epic The Globalist. It begins with quiet chords and a whistled melody. The whistling gives way to a mellow slide guitar part. The first vocals enter at around 3 minutes. Bellamy's voice continues to remind me of Steve Hogarth from Marillion. At around 4:30, however, the mellowness is succeeded by a heavy guitar riff. The bass joins next, with some distant wordless vocals. A bass drum enters at about 5:30, then turns to a tribal tom-tom beat with a lady's voice counting down. It keeps building in intensity until the crescendo peaks just after 6:30, replaced by gentle piano, joined by Bellamy's melancholy vocals. The rhythm section returns around 8:20, it becomes a grand finale of sorts, even though the short title track closes the album with a cappella choral style music.

The album won the Grammy for Best Rock Album. It hit #1 in most countries of the world, and top 10 in many others. It has sold over 1 million copies worldwide. An extensive world tour followed.

Up next is album #8, Simulation Theory, released in 2018. Once again, there was a concept behind the album based on 1980s culture and science fiction, specifically that our reality is someone else's simulation. The concept was meant to be “lighter” than their previous albums. The sound is based on 1980s synth-pop and rock. The recording process involved working on different songs in different studios with different producers. The producers are Rich Costey, Mike Elizondo, Shellback, and Timbaland. The album's cover art was done by Stranger Things artist Kyle Lambert.

While the music is enjoyable, it seems less prog-oriented to me than previous albums, leaning more into a new wave/synth-pop sound with more modern influences. Dig Down, Thought Contagion, Something Human, The Dark Side, and Pressure were all released as singles. I kind of like the closing track, The Void. The album did not chart as well as previous albums on a worldwide scale, although it still hit #1 is some locations. It did manage to sell around 1 million copies worldwide.

In 2019, Muse released Origin Of Muse, a box set of remastered copies of the first two albums, B-Sides and rarities.

The ninth and most recent Muse album is 2022's Will Of The People. According to Matt Bellamy, Warner Brothers asked for a greatest hits album, but he had the idea instead to write new songs in the different styles Muse has covered over the years. Four singles were released throughout 2022 prior to the album's release in August (Won't Stand Down, Compliance, Will Of The People, and Kill Or Be Killed), with a fifth one released on the day of the album's release (You Make Me Feel Like It's Halloween), and a sixth coming that November (Ghosts (How Can I Move On)).

The opening title track reminds me of Marilyn Manson's The Beautiful People but I like it better. The next song, Compliance, reminds me of Queen's Scandal (from The Miracle album). Liberation is a nice, dramatic ballad. Won't Stand Down alternates between electronic verses, and heavy choruses. Ghosts... is a piano ballad, with a lovely arpeggiated piano part. You Make Me Feel Like It's Halloween seems to be a pastiche of 80s synth-pop, much like the music on Simulation Theory. The opening riff from Kill Or Be Killed sounds an awful lot like the signature riff in Let The Bodies Hit The Floor by Drowning Pool, although it is a cool heavy tune in its own right, with a fantastic guitar solo.

Euphoria is an upbeat song with interesting moments and some killer guitar playing. The final track is We Are F*****g F****d which has heavy alternative vibes.

Once again the album hit #1 in many countries of the world, but only hit #15 on the Billboard 200 (but made # 1 on the “Top Rock” and “Top Alternative Albums”). Thus far, the album has sold over 300,000 copies, which is respectable in the age of streaming, but a far cry from what previous albums have sold.

So my overall impression of Muse is generally strong, especially up through the first seven albums. Those albums really captivated my attention, and made me want to keep listening.

Unfortunately, the last two, Simulation Theory and Will Of The People, were harder to get through, although they had some good moments. I did think that Will Of The People was a bit better than Simulation Theory overall, but as noted, several of the songs seemed derived from other bands' music. To me, they seemed to peak on The Resistance.

I am hoping that the slight improvement on Will Of The People will continue onto the upcoming album. I do agree with ProgArchives' assessment of Muse as "prog-related", as while there are many prog elements on their better albums, they are very eclectic, and Matt Bellamy (as the band's writer/leader) seems to try to follow trends in popular rock music, especially in the later albums, which has moved them further from prog than they were in the 2000s and early 2010s.

One thing is certain, though, Muse are a trio of very talented musicians who are capable of making great music.

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Scott

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