The album continually stuns from the swirling introduction to the explosive conclusion, proving to be one amazing album. Listeners waiting for the album to take the foot off the gas and coast to a comfortable conclusion will be sorely disappointed. On their fifth album, Muse possess a kick ass, take-no-prisoners, confidence that shines brightly throughout.
Black Holes And Revelations is a rich and engrossing listen.
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Opening with a jangling acoustic guitar, "City Of Delusion" is a brilliantly produced tune full of surprises, growing quickly into a prog-rock explosion before pulling back to re-expose the naked acoustic, joined by a lonely horn, before exploding back into full-bore epic rock mode again. Tense and explosive, the rapid-fire metal riffs of "Assassin" pull together the best of Muse, with robust music and remarkable vocals. The combination of mesmerizing falsetto vocals against the fuzzy shake-your-ass beat gets into your head and quickly makes itself at home, strutting proudly out of the speakers as though the sonic embodiment of a Mick Jagger performance. The most memorable moment on Revelations is the swagger of "Supermassive Black Hole". Drifting into an expansive epic, Bellamy shines belting out the explosive and triumphant tune. Channeling their inner-Queen, "Soldier's Poem" is a peaceful ballad written from the perspective of a disenchanted soldier at war, followed immediately by the militant drums opening "Invincible".
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Enormous new wave synthesizers and tribal beats greet listeners on "Map Of The Problematique", where Dominic Howard's expressive beats take center stage, while Bellamy croons, "Fear and panic in the air / I want to be free from desolation and despair" eventually twisting into something Depeche Mode would be proud to call their own. Bellamy's vocals sparkle on the enthralling "Starlight", with swirling keyboards and a toe-tapping beat that you cannot help but move along to. Between "Bow" and "Cyndonia" lie a diverse mix of danceable rock and more moody introspective songs. Soaring into a galloping beat, fuzzy warbling guitar, horns, Queen-ish choral hook, and distortion galore, the song works well as a 'final stand' to close out the album but as a stand-alone single, may be the weakest. An odd choice for first single, "Knights Of Cydonia" is equally bleak in tone opening with clomping horses, explosions, and videogame sound-effects. Bellamy warns, "You must pay for your crimes against the earth", before issuing the sentence, "You'll burn in hell for your sins", as the experimental song slowly builds into an orgy of guitar, bass, drums, synth, and orchestra. Twirling synthesizers and swirling orchestra eventually blow into an up-tempo dance beat on the apocalyptic "Take A Bow". The bookends "Take A Bow" and "Knights of Cydonia" work best within the context of the album. Despite the huge sound of the album, Muse never loose the listener turning in pleasant surprise after pleasant surprise. Muse repeatedly aims high, but hits the mark each time. Many albums that shoot for the sky, dishing out epic after epic, wear listeners out early. The album has a massive sound, with several sprawling epics. To call Revelations a dance album would be inaccurate, but Muse does use an abundance of upbeat danceable rhythms underneath the shredded rock sounds.
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