****** Hörsturz?? Krach?? Mein Gott ... hinter diesen ach so lärmigen Gitarren verbergen sich grandiose Melodien ... Schon die Anfangs-Piano-Melodie ist zauberhaft ... nach einer Minute könnte man denken, der Song sei zu Ende, aber nichts da! Es geht erst richtig los, und wie. Rockt wie Sau. Ein beeindruckend langer Opener, der stets typisch Muse, ergo spitze ist. Ein super Vorbote auf das, was auf dem "Origin of Symmetry"-Album folgt ...
****** Einer ihrer allergrössten Songs: aus einer himmlischen Keyboard-Ballade mit pessimistischem Text wird nach gerade einmal einer Minute eines der grössten Monster der Dekade; aggressive Riffs, welche ganz klar am unteren Teil der Tonleiter wachsen, militärisches Schlagzeug und dann, der ultimative Hilfeschrei - der Refrain. Hier werden alle Karten ausgespielt - Dramatik pur! Und wieder: Licks, auf die Tom Morello stolz wäre! Und wer glaubt, hier einen der fantastischsten Songs der letzten Jahre vor sich zu haben, der soll in sich mal live anhören. Da klingt das Gesamtpaket nochmal doppelt so gut. Last edited: 27/11/2009 19:32
***** Nix aus dem Film "Haute Tension", nur für "Haute Tension" wiederverwendet - in einer durchaus magischen Szene eines wenig magischen Films. Und "New Born", ja, der hat schon was - ja, was sag ich, der hat sogar viel. Eine der wenigen Muse-Großtaten. Die elegischen Piano-Passagen, durch die sich meterdicke Gitarrenkaskaden schneiden, dazu die umwerfende Melodie - mit anderem Sänger wär' das eine Höchstnote.
**** So this was a close tier for my favourite Muse song at the very height of my Muse fandom, the other contender was "Time Is Running Out" which I would still consider to be their greatest song. My music interests have of course turned away from Muse in the past 6 years, and now much of even their best music at the time seems a lot worse objectively to me, yet every now and then I can pull out an old fave of theirs and still have a pretty good time.
"New Born" certainly has some flaws, ones that are pretty consistent with the band's flaws as a whole, mostly that the lyrics are rubbish. "Link it to the world, link it to yourself, Stretch it like a birth squeeze" and "Destroy the spineless, show mw it's real" are the kind of ridiculous Muse-ings about some nightmarish future of digital babies or whatever the heck he's talking about (not that I'm also terrified of the futurist visions of humans-meet-technology that get peddled by people like Ray Kurzweil, which I first read about around the time of being a Muse fan). The guitar solo - although a dazzling spectacle in Muse's live shows - is in its studio version basically a generic tremolo-picking exercise but more importantly less essential to the actual composition of the song as a whole compared to some of Bellamy's other solos ("Invincible", "Uprising", "Madness" or even "Reapers"). The actual tune of the song is decent, though, although it's the kind of stock alt-rock melody most halfway decent bands in the 2000s could come up with. It's enough to give the song a hook beyond the riff and piano arpeggios at least.
But on the other hand there's said swirling piano arpeggios which set the scene of a dreamy opening which are of course a false down luring you to the trapdoors opening when That Riff arrives. I like the urgent jittery rhythm of the guitar when the song returns to the verse after That Riff and the way Matt sings "Fades away to nowhere" with the urgency it needs. Chris' bassline in these verses is fantastic, further confirming my theory that his contributions to the band are the most well-judged and well-aged part of their music, virtuosic without hammering you into submission like nearly everything Matt does. Not that being hammered by Matt is always bad of course, and certainly not in the case of That Riff, which is actually not so much hammering as much as it feels like a pile of concrete blocks falling on your face (and I mean that in a good way). It's still every bit as awesome to my ears now at it was 9 years ago, and a moment where I can remember why I was so enthused by this band as a young lad, a feeling that is often barely recognisable to me anymore.