The trouble with Muse is that they make the creation of superb art rock look so easy that most listeners will take it for granted. Unless you've been around a few years and listened to a few other bands' attempts to create this sort of music, then you may fail to appreciate the unique mix of creative talent, inspiration, sheer hard work, and encyclopaedic knowledge of rock history that must have gone into this project.

Sadly, the only influence most reviewers on this site have spotted has been Radiohead. That's fair enough up to a point. Matt Bellamy sounds a bit like Thom Yorke on some songs, and Muse owe Radiohead an even more important debt: It's only because Radiohead carved out a mass market for this kind of art-rock back in the late 90's that there is an opening for new bands like Muse now. However, it is unfair to write Muse off as copyists. On the contrary, they have in some respects surpassed Radiohead at their best, matching the sonic ambition of Radiohead's later work without sacrificing the melodic sweep and the compelling hooks that made "The Bends" so listenable. What's more, Bellamy's voice is a considerably more flexible and emotionally powerful instrument than Yorke's, and embraces far older and deeper influences going right back to the late '60's. Van der Graaf Generator is the most obvious influence, but there's also a heavy sprinkling of King Crimson, at least a nod to middle-period U2, a hint of Japan and others if you listen for them. It's all very British, but encyclopaedic for all that.

The key structural difference between Muse and that first wave of prog bands is a welcome one: Muse have learned to say in a four-minute song what some of the seventies prog-rockers needed a 20 minute mini-concerto for. They have some way to go before they outgun the older bands for sheer musical virtuosity, but even that is no bad thing. At least this never pretends to be anything but rock - a boundary that some of the old prog bands came dangerously close to crossing - and they have all the time and talent in the world to refine their art.

So what will you hear? Among a wealth of styles, you'll get delicate baroque-style keyboard arpeggios, some thundering ostinato bass lines, crunching splintery guitar, rock solid percussion, and possibly the most awesome, spine-tingling rock vocalising you've ever heard. Ultimately, it must be said, the band has so far broken little new ground. They seem to have been concentrating so far on drawing their influences together and weaving them into whole cloth for the new decade. But they are still amazingly young for this sort of mature work, and the intelligence and awesome technique they have brought to the task promises to propel them to the front rank.


Before they were big   December 27, 2004
 27 out of 27 found this review helpful

While British rock band Muse are big in the UK, the US is only just starting to get acquainted with these original, entrancing musicians. And their second album, "Origin of Symmetry," they accomplish the almost impossible -- every song is epic and thrilling.

The first two songs open with delicate rippling piano intros that suddenly blossom into rock riffs. Feedback kicks off into sizzling basslines and riffs in "Plug In Baby" and "Citizen Erased," while wind chimes and an acoustic melody are at the heart of "Screenager." "Hyper Music" is the only dud. It's a discordant clatter that becomes a discordant rock song -- nuff zed.

But as good as most of the album is, Muse save the best for absolute last. The penultimate song "Feeling Good" is perhaps the best -- fuzzy chopsticks start the song, followed by a stretch of epic rock and soaring vocals. The finale is no less entrancing, a slowly stately wave of sound that slowly transitions into an equally rich rock song.

Americans really got to know Muse through their latest album, "Absolution." But it's not the only album they have done, nor is it the best. "Origin of Symmetry" may well take that honor, or at least tie with their debut "Showbiz." Relatively few people know about these earlier albums, or about the rich apocalyptic quality of Muse at their best.

Muse is definitely a band for Radiohead fans -- it has the same rich spaciness and art-rock quality, but it's more grounded and gritty. The most entrancing instrumentation is done on piano -- it can be delicate, dark, fuzzy, or outright epic. The piano is accompanied by smashing percussion, sinuous riffs and basslines, and sweeps of spellbinding electronics.

Matt Bellamy puts his good vocals to use in every song, and he's as versatile as his piano. Much of the time he opts for the smooth, low sound. But he also gets to howl, and occasionally sounds like he's been huffing helium. And the songwriting is also pretty solid, often focusing on betrayal and a lover who "was so beautiful."

Muse deftly dodged the sophomore slump in "Origin of Symmetry," a soaring rock epic that won't be fast forgotten.


Origins!   September 27, 2005
 21 out of 28 found this review helpful

While British rock band Muse are big in the UK, the US is only just starting to get acquainted with these original, entrancing musicians. And their second album, "Origin of Symmetry," they accomplish the almost impossible -- every song is epic and thrilling.

The first two songs open with delicate rippling piano intros that suddenly blossom into rock riffs. Feedback kicks off into sizzling basslines and riffs in "Plug In Baby" and "Citizen Erased," while wind chimes and an acoustic melody are at the heart of "Screenager." "Hyper Music" is the only dud. It's a discordant clatter that becomes a discordant rock song -- nuff zed.

But as good as most of the album is, Muse save the best for absolute last. The penultimate song "Feeling Good" is perhaps the best -- fuzzy chopsticks start the song, followed by a stretch of epic rock and soaring vocals. The finale is no less entrancing, a slowly stately wave of sound that slowly transitions into an equally rich rock song.

Americans really got to know Muse through their latest album, "Absolution." But it's not the only album they have done, nor is it the best. "Origin of Symmetry" may well take that honor, or at least tie with their debut "Showbiz." Relatively few people know about these earlier albums, or about the rich apocalyptic quality of Muse at their best.

Muse is definitely a band for Radiohead fans -- it has the same rich spaciness and art-rock quality, but it's more grounded and gritty. The most entrancing instrumentation is done on piano -- it can be delicate, dark, fuzzy, or outright epic. The piano is accompanied by smashing percussion, sinuous riffs and basslines, and sweeps of spellbinding electronics.

Matt Bellamy puts his good vocals to use in every song, and he's as versatile as his piano. Much of the time he opts for the smooth, low sound. But he also gets to howl, and occasionally sounds like he's been huffing helium. And the songwriting is also pretty solid, often focusing on betrayal and a lover who "was so beautiful."

Though it was a financial flop, Muse deftly dodged the ARTISTIC sophomore slump in "Origin of Symmetry," a soaring rock epic that won't be fast forgotten. An outstanding piece of work.


The best art-rock album since 'A Night At The Opera'   June 22, 2001
 18 out of 20 found this review helpful

Muse - oh, they're that band that sounds like Radiohead, aren't they? Fortunately, on Origin of Symettry, no. Showbiz was good, but Origin of Symettry Muse have moved on. They have created a much more vivid soundscape which is as overblown as it is creative as it is brilliant. Not even the two singles could have prepared you for this.

The album opens with second single New Born. Whilst first single Plug In Baby was good, New Born is amazing. It is totally overblown in a rock opera sort of way and is one of the standout tracks on the album.

Next is Bliss, rumoured to be the third single from the album. It opens with what sounds like a harp, which mutates into an electronic keyboard. This plays a totally wild arpeggio, before the drums kick in and this arpeggio combined with the guitars and drums makes it totally euphoric. The end of the chorus is totally haunting, and one the second chorus the arpeggio gets a solo, then then it builds beautifully. The whole effect is another stand out track, as it ends with the harp again.

Space Dementia follows. Whilst New Born and Bliss are both quite experimental, this is the first tracks which is hard to get into. The piano opens it like a classical piece, showing this influence in their music, and another arpeggio, but on a classical piano begins. However heavier guitars and drums give it a totally different sound to Bliss. Whilst Bliss is euphoric, Space Dementia is extremely down, with lyrics like 'You make me sick/Because I adore you so'. Get into it however and you will find it is yet another brilliant track. It is also very overblown and ends with a spacey sound, accompanied with a slow grunge instrumental.

Hyper Music is next. It starts with some heavy distortion and gothically chilling singing from Matt. However once it starts fully it turns out to be very catchy. The high Gothic singing continues. It sounds like a chorus is starting and it sounds very experimental. However it is really just like a different type of verse. The whole thing is excellent. Matt screams at one point, which is something he never did on Showbiz.

It flows right into Plug In Baby, the first single from the album. In fact the whole album seems to flow. Plug In Baby is totally infectious but not as deep as some of the other tracks. The mad fast guitar solo gives it a characteristic style. It sounds like one of the best tracks from Showbiz rather than one of the best on Origin of Symettry however. Which is still very good.

Sixth is the art-rock masterpiece that is Citizen Erased. It sounds nearly exactly the same live and has a very live sound. This is probably, although difficult to get into, the best song on the album. It is over 7 minutes long and is like a Bohemian Rhapsody for the new generation. The vocals and lyrics are amazing. The dischord and distortion is so effective at the beggining, followed by a wonderful verse. Guitars and organ combine with worryingly catchy gothic style vocals in the chorus. The haunting last note continues through the quiet bit and a plaintive guitar solo follows. The vocals come back in, softer this time. The chorus is done again in a much softer setting, but the bass is quietly building and the mad guitar that open the song return. Then a mad guitar solo kicks in, and its absolutely crazy sound make for one of the best ever. The twangy quiet guitar comes in, accompanied by spacy sounds (they're now making a habit of these) and Matt's chilling 'ooh's'. This is beauty!

The spacey sound fades out into a song that sounds exactly like Bliss, but only for a moment. It is Micro Cuts, and is also brilliant. The vocals are very distorted and high. The chorus is overblown. The vocals are impossible to make out and when Matt hits top note it resounds at a pitch a woman couldn't make. The vocals really are opera style here - something Matt is making a habit out of. However it sounds like he's taking the (...)out of opera, as it is accompanied by prog-rock guitars. Another masterpiece.

Next is Screenager, which features the welcome return of Latin guitars, like the ones in Muscle Museum. Another beautiful chilling melody. There is the fourth electronic arpeggio of the album in the chorus, however it still sounds equally individual. Harp is also used. This is one of the lighter tracks on the album.

Dark Shines sounds like a guitar-fuelled disco song at the begginning as they turn to the drum machine. Spacey sounds build however and we get a typically rocky muse chorus that sounds like the style of Cave, but with more offbeat drums. There is then a guitar solo that sounds like an electric violin playing a latin melody. We return to the dancey drums and bass, and its only Matt's vocals which stop us feeling the groove totally. Another masterpiece. Builds into a weird guitar solo before changing entirely, having a short guitar and vocals burst which sounds like a new song and ending.

Next is the cheeky cover 'Feeling Good'. However they take this jazz classic and make it their own, in a jazz rock way which is reminiscent of parts of Showbiz. They use guitars amazing, especially the one that floats like the piano in the original. It really sounds like Muse wrote it, and is the most transforming cover I've ever heard that worked. It is driven on with the drums and an ominous bass line which give it a pounding, depressed, slow grunge feel which takes the (...)out of the uplifting lyrics of Nina Simone. However the piano returns it to jazz. There is then a very weird distorted vocal section before returning to the main song.

Final track Megalomania has a long, down intro before adding a sound that sounds like workers working on a steel railroad, which makes it sound scarily like The Intense Humming Of Evil by the Manics. However the similarity ends here. Ominous organ leads into a chorus which is both down and uplifting at the same time. The song is a beauty.

In conclusion, there really isn't a bad track on this album. Muse have put so much effort into it, and it hasn't gone to waste. One of the best albums ever. Now all I need to do is see them live - their TV performances and live reviews promise much.


Finding the origin in the 21st century.   March 2, 2005
 15 out of 16 found this review helpful

Muse have been threatening to explode for a while now... both on and offstage. Their latest album "Absolution" finally made it to American shores and to no one's surprise... has been well receieved. Unfortunately, the omission of their first two album's within America has slowed their plans for world domination. Amazon doesnt even have any track samples!?!! But, "Origin of Symmetry" the second album, is arguably their best work.

Origin of Symmetry, sees the trio band... Chris, Dom and frontman Matt Bellamy... travel to the end of time and back. Its an epic adventure... Space Odyssey style... Grandiose and ambitious.

Matt Bellamy is known for his wacky theories and love for space, evolution, religion and physics... in this album, he proceeds to take his audience to places most books could never envision let alone express.

It starts with the angelic "New Born". Beginning with the flickering of piano notes, staging the formation of life. It quickly turns to an all out rainbow effect... beautifully capturing an array of emotions (agony, confusion, defiance, madness). It is brilliant. It is a description of life through expression of music.

The second track 'Bliss' draws from the first, as Matt Bellamy waves his magic wand he summons a whirlwind that lifts life onto the world stage. Yes folks, you have just experienced the birth of life. As the video clip implies, it plays like a gravitational pull. Falling through time and space...

The third track 'Space dementia' feels like a ripple in the seam. It begins poised, but suddenly rips into a fast paced spread of destruction. Matt literally screams like a baby, the new born momentarily innocent, pure and peaceful is now quickly contaminated. The environment polluting its existence.

'hyper music' and 'plug in baby' are products of human experiences, the effects of earthly existence... Love and Hate.

'Citizen erased' (probably the best part of this vast voyage) ventures to the borders of life and death. Someone is kneeling to GOD here... and pleading for his\her life. Like the song itself, it jumps between the realms of pain and beauty, death as we know it maybe.

'Micro Cuts' is the haunting truth, the inevitable outcome of the previous track, life has not been granted. There is panic, the guillotine awaits, eyes covered, hands cuffed. There is no escape but just immense pain and sorrow. As expressed by the turmoil in Matt's voice.

Whilst 'micro cuts' was an immediate reaction, 'Screenager' is the creepy, dark, long and lonely wait. "Stop your screaming no one can hear". This is the night before the end...death awaits.... what to feel? .... cold, helpless, accepting (maybe even embracing what is to come).

'Dark shines' plays like a walk through death town.. the lights have gone out. Darkness has prevailed.... wOOHOOOOOO... tell me you havent been succumb already!!

'Feeling good', a Nina Simone cover is cleverly placed here. Its a new dawn... new life. A new start. IS this Reincarnation? Is it life transferred to new frontiers.

'Megalomania' is the closing credits to a fantastic journey. An absolutely beautiful finale to an absolute gorgeous world that is 'Origin of Symmetry'. The tempo builds to a crashing percussion, a supernova at its finest hour! And amongst all this perhaps subtle hints of a return to evilness... a 'Clockwork orange' ending. Or perhaps a message that 'things will never change'.

Muse's journey to the Origin of Symmetry, is a mind boggling musical expedition to the outer boundaries... It is truly breathtaking. I haven't even talked about the catchy melodies that unfold or the sheer energy that these three young men are able to yield. The genious of Matt's finger coordination like a caterpillar on pills speeding across the piano, his razor sharp scissor hands on the guitar, or his spectacular voice raising over what often feels like a musical stage... that is about to lift off like a spaceship.

And then there is the Live aspect of Muse (O.O.Symmetry playing a large part), which is undoubtly their strongest asset. Their night shows, encapsulating a smorgasboard of stunning visuals and a beautiful array of lighting effects, like some psychedlic 70's disco space arena... it has even seen a call for a return to stadium rock!

And lets not forget to mention Matt's charismatic 'over the top' antics, sliding across the stage like Marty Mcfly (Back to the Future), effortlessly swaying his oversized guitar like a MANGA character weilding an axe, and doing the splits mid air whilst in the middle of a riff... no wonder Muse have cleaned up Best live act at Q, NME, MTV europe, FESTIVAL, and British awards this last year!!!

I could go on forever about their live performance, but Ill end with one important note. Matt's antics onstage are parallel to BMW's motto for car aesthetics... functionality first. Matt doesnt repeatedly headbang, wave his torso pointlessly, or swivel his guitar between notes... his actions are an extension of his music. The timing is relevant and the motions are always functional in an attempt to express his music. Most muse fans will tell you, you havent finished hearing Muse until you see them live. That, amongst all the mundane 70's and Nu metal clones out there, you just dont find anymore.