Diario

4. United States of Eurasia/Collateral Damage (5:48)

In this almost two-parter, Muse tries something new. U.S.E is probably the least like their other already Hodge podge songs, but still brings the "epic" factor. Here, Bellamy composes some beautiful string accompaniment while jamming along with his piano and band. The song begins slow and steady before exploding into a Queen-esque riff and harmony, declaring "Why split these states, when there can be only one!", almost pleading as much as they are rocking. From there, it goes into an early, Middle-East/Asian sound coming from strings and piano. The song continues upbeat, but it is the lyrics that are important here:


You and me fall in line
To be punished for unproven crimes!
And we know that there is no one we can trust;
Our ancient heroes, they are turning to dust!

And these wars, they can't be won
Does anyone know or care how they begun?
They just promise to go on
And on and on
But soon we will see
There can be only one

United States!
United States!
Of...


And though "EurasIA!" comes from George Orwell's book, 1984 (also referenced in "Resistance"), I certainly believe that this song can translate to countries all over the world. Personally, I can't help but think of my United States of America while listening to this piece.

"Our ancient heroes, they are turning to dust."

No matter how you hear it, or what you think of, Muse is letting out some frustration shared by almost everyone around the world. It's a song that reflects a great book, but it also reflects something that almost every person can relate to. When someone can bring people together...I say that's quite the masterpiece.

But after the harmonies, the frustration, the strings and the roaring piano, the song continues. This time, the last 2 minuets, Bellamy softly, almost dreamily, plays the piano. It sounds somewhat Chopin influenced, which is never a bad thing. It goes on...almost making you forget your frustrations and loss of hope. There are even sounds of happiness and laughter at toward the end...wonderful...and then a sound of jets, or some kind of fighter craft flying overhead, just to bring us back to reality.

These guys know what's up, and are way ahead of any other band out there when it comes to song writing. Not only are the lyrics spot on, but the composition of the song is over the top. The more and more I listen, the more and more I fall in love! You can not deny the goodness!


4/5
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3. Undisclosed Desires (3:55)


Pop. Boy-Bandish. Timbaland. Or so you think...

Those first few bars of bass, electric strings, and beat immediatly make you think of the above adjectives (yes, "Timbaland" is an adjective) for this song. But like the album itself, first listens are deceiving. This track soon became my "repeat" track. Evidence of this is on my last.fm account...

The song has zero Matt Bellamy guitar on it, which makes it similar to Absolution's "Endlessly". Yes, "Undisclosed Desires" is the new "Endlessly"! And there is not a thing wrong with that.

Chris and Dom really put their work into this one, bassing it up with the best of them. And of course, what is a Muse track without Bellamy's sensual voice? The man knows how to give a girl butterflies. Though I must admit that the songs on-going crescendos and harmonies add to the sexiness. The sound itself is enough make you blush. Add in the whispers and the lyrics and you have one of the most lustful, yet romantic songs possibly ever produced (those "ooo"'s in mid song? I fell off my chair.)

The lyrics introduce us to a man's love for one special woman. She seems to be the "bad girl" type, or so she acts like it. No matter who she is, this man wants her, and wants her to know he will save her. What is there not to love about...love?

"You trick your lovers that you're wicked and Divine/ You may be a sinner but your innocence is mine./ Please me, show me how it's done./Tease me, you are the one."

Butterflies? Me, too. Wait until you hear that last harmony. That cut off is one that choral conductors sweat over.

And live? Beautiful.


MuseThe ResistanceUndisclosed Desires

Fri 2 Oct – The Killers, Chairlift

Having seen The Killers twice already this year, I went into the USF Sun Dome expecting an incredible show. I knew the basic format of their set list; I knew the small monologues Brandon Flowers would speak in between songs for a quick break; I even knew when Flowers would kneel down in front of bassist Mark Stoermer while he slapped that bass for his well-known bass solo in “Jenny Was A Friend of Mine”. But no YouTube video, or memory of “killer” shows seen previously could have prepared me for the joy ride I was about to take. Simply put, The Killers blew me out of Tampa’s surrounding waters.

The band started out with a new opener “Joy Ride” (usually known for opening with a countdown leading to their first single “Human” from their newest album), encouraging the audience to dance along and forget about life’s troubles for a few hours. Flowers announced to the full standing crowd, “I’ve got a feeling about tonight! I’ve got a feeling about tonight!”, followed by a tremendous uproar. We, too, had a feeling something special was going to take place on this night.

The band pumped out fan favorites such as “Mr. Brightside”, “Human”, “Somebody Told Me”, and the horn powered “Bones” in which Flowers invited the audience to “Come with me! Feel your bones on my bones!” The heart stopping “A Dustland Fairytale”
and “Read My Mind” raised every hand and moved every soul. There was little room for rest on either the band or the crowd’s part, only slowing for a slow version of “Joy Ride” and the ever-so-melancholy “Smile Like You Mean It”.

Mid show, the band invited their opening band, Chairlift (known for their song “Bruises” as heard on iPod commercials), to share the stage and perform a cover of The Church’s “Under the Milky Way”.

Not once did I hear a silent crowd. There were constantly people chanting and reciting Flowers’ lyrics. “I’ve got soul, but I’m not a soldier” from Hot Fuss’ “All These Things That I’ve Done” surely echoed through the streets of Tampa. Even the lesser known, yet no less epic, “BLING! Confessions of a King” from there sophomore album, Sam’s Town and “Losing Touch” from their recent Day & Age had people bobbing and singing along.

If you had been oblivious to the rich and powerful vibe that The Killers were flooding out to their audience, it was clear when the band had left the stage toward the end of their performance. Balcony structures became weak, and the dome erupted with noise to encourage the band that we needed more! After sometime, The Killers finished the night off right with “When You Were Young” and even played the original version of their song “Sam’s Town” with the echoing chant of “I see London, I see Sam’s Town. Holds my hand and let’s my hair down”.

And all too soon it was over.

The thing about this band is that…well…they never disappoint. Their stage is filled with props such as palm trees that remind them of their home in Las Vegas. They have a brilliant light show behind them, showing clips of their music videos and graphics that dance along to their songs. Brandon Flowers always makes the show seem personal, even declaring a “need for a connection” with the audience, where he reaches out to touch your hand. He looks out into the audience, as if to absorb it all, and smiles at you with reassurance. They make you feel as if there is nothing in the world at that time but you and the music.

This band is also for EVERYONE to enjoy. I walked into the show seeing young teens wearing all of their Killers gear only to be standing next to middle aged women also sharing a spot in front of a giant lit-up “K” in the very front row. I stood next to a couple in their sixties who were wearing “Victims” shirts, identifying themselves as members of the band’s fan club. Mothers and fathers brought their small kids. The Killers are also known all over the world. Having been signed first in the United Kingdom, the band has a very large fan base in Europe. Now they tour in Mexico and South America before heading to South Africa. I have no doubt that the fans about to witness this show will be just as amazed as I was. If I were to ever describe something as a religious experience, the feeling I shared with all of those people that night may just be it.

So though I have seen the band perform four times now, on two different tours, there was no denying some kind of magic in Tampa that night. No matter how much I may try to shake the need to see The Killers just one more time, you will be sure to find me jumping, sweating, singing, and swooning in that audience. I just can’t help myself.

2. Resistance (5:47)

If you enjoy yourself some George Orwell "1984", chances are you will appreciate this track. The lyrics and the sound pretty much some up the relationships in that story, and manage to epxress the feeling wone has while reading the book. Seeing as that is one of my favorite books...I dig the song. Oh, I dig it a lot.

The beginning is almost misleading. The song is one of the most diverse on the entire album, so though the track opens with an eeire, dark synth sound (that synth is MASSIVE, by the way. It's almost creepy watching the man play it), it rises to more than the slow, dream-like Muse we all know and love.

This is the perfect song to follow "Uprising". In the beginning, we felt the sense of rebellion, and had that whole "WE'RE NOT GONNA TAKE IT" feel. Now we have the sense that something went wrong with that plan, and now we need a new one. Though Bellamy narrates the story with some sadness, there is still hope!


"Love is our Resistance/Keep us apart and they won't stop breaking us down/Hold me, or lips must always be sealed"


The love story continues, with racing tempos and chillling harmonies all the way up until the climax gets our hopes and rebellion up again...only to end back where we started; That eerie synth. You know, the one that leaves you with goosebumps (does anyone say "goose pimples" anymore? Gross.).

Like "Uprising", Bellamy is trying to tell us something. He's not going to take it anymore, dammit, and neither am I! What that is, you decide, but I think I have a pretty good idea.

Musically, everyone does their part, and well. Matt Bellamy (vocals/guitar/synth) has spot on lyrics, heart wrenching vocals, and that unmistakable guitar riff. Dom Howard (drums) plays those 16ths like his life depended on it, and gets the listener going every time. But I think it is Christopher Wolstenholme's bass that makes me fall in love. VIVA LA BASS!


So to sum up: eerie synth, diverse song, spot on lyrics, holy bass guitar!, 1984, thank you, Muse.


Rating: 4/5


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