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I love Muse. They're experimental, bold, brilliant, hugely talented and aren't afraid to wear incredibly wide-ranging influences on their sleeves in a grandiose performance. Equally, there are some reviews I hold back from writing - because I want to be sure I'm doing a fair job of reviewing something remarkable. And, my pre-existing passion for the band notwithstanding, I feel I can write a truly, fully enthusiastic review for this album, because I feel that it is not only a band coming of age but also realising that, a creative core enjoying that they can indulge in their influences and own style, with the full knowledge and confidence that comes with realising that you are one of the most incredible live rock acts in the world. So now I hope I can do justice to this album, having seen the live performance of it last year as well. They may not be to everyone's taste, but to me Muse have surpassed themselves with The 2nd Law, and here's why I believe so... ***THE 2ND LAW*** Muse fans across the world batted a collective eyelid when the pre-release media releases about The 2nd Law included news that Muse had undertaken the influence of dubstep. The subsequent track "Unsustainable" was used for a promotional video which really did had people wondering where this album was going. Having seen it live, I can tell you that the same doubts lingered in my mind before being obliterated in the O2 as the remarkable track opened the show. There are multiple influences on show in this album, and you do have the feeling that the band are indulging in their pleasures. That they've reached a level of maturity whereby they can put on a magnificent show, write a stunning album, without feeling that "indie band" inferiority or suspect that they can't indulge in their passions without being criticised. So they've crafted an album with total commitment but also fun, passion, and performance. I can definitely say it works live but also that it is the most brilliant album I have heard from Muse, one I can't stop listening to, and without a shadow of a lie, an album from which I have woken each morning for about the last six weeks with one of the tracks playing in my head. I just hope this review does the tracks justice. ***THE 2ND LAW*** ***SUPREMACY*** With the Bond theme tune that never was - for a short while rumours suggested it would open Skyfall. Dramatic, grandiose and bass-driven, Matt Bellamy soon screams in with brilliant vocals that only he can provide...but first he delivers sultry, seductive Bond-esque lyrics that put Adele's offering to shame. The band get fully into the effort, producing a track that is just so Bond-esque that when I went to see Skyfall I could only hear Supremacy in my head when the theme played. The lyrics - "you don't have long, I am on to you, the time has come to destroy your supremacy" - before the track bursts into dirty bass and percussion - are just purely perfect for the role, and the ending is pure pastiche Bond. ***MADNESS*** This has become a hugely personal track for me, and was the first single. Supposedly written about Matt Bellamy's realisation that his relationship with Hollywood starlet Kate Hudson, his then-girlfriend (and now mother of his child and possibly even fiancée), was definitely the woman for him, this song is about realising that you are truly in love and how that overcomes all of the superficial aspects of being in a relationship. Stripped down and slow, yet still thoughtful and seductive in its early stages, the song reaches epic proportions as the emotions of the lyrics build. This was used as a teaser for the album and I recall sitting on my porch listening to this be played for the first time to tease the album release - influences of U2 could be called on, as they are later in the album. Taut, stripped down guitar work interrupts the initial lyrics before the grandiose second half of the track, which conveys beautifully with Bellamy's impassioned lyrics the feeling of realisation that a relationship is serious and significant. It starts out as a quirky track but grows into something truly beautiful and I honestly feel this is one of the best songs Muse have ever produced - especially when Bellamy's lyrics soften towards the end. A stunning track. ***PANIC STATION*** After the serious note of Madness, the fun!! Stevie Wonder influence abounds in Panic Station. It's a great, funky, fun, choppy and jaunty track and is so indulgent. Bellamy indulges in the quirks in his voice and the band are shown to great effect. This live was amazing, but even on the album it was so much fun. I love to drive to this, with it's brass influence and rock chaos, it's just fun with brilliant execution, the guitar work is flawless and again Bellamy's voice is spot on here. In a dead tie with Madness as my favourite track on this album, this is just hopelessly danceable and brilliant. To listen to this without at least a minor head bop is humanly impossible - fact. Go on, try to prove me wrong. ***PRELUDE*** A piano-driven, orchestral gap takes us to Survival and raises hairs in doing so... ***SURVIVAL*** Written as the "official Olympic Song", I didn't think that it worked in that role and I never heard it used in that context during the games either. But taken in the context of this album and when seen live this is a great, epic track. It builds steadily and features Bellamy's lyrics growing in bravery and boldness and becomes a massive song. In between we hear operatics and epic guitars, an almost tribal beat and complete commitment from the band. Taking what Queen did a step further? ***FOLLOW ME*** The introduction actually features the sound of Matt Bellamy's first son's heartbeat when he was still in the womb. This track also enlists the help of Nero on the production front, and is an epic track that is certainly far more club-friendly than any former efforts. Supportive vocals lead this to being a truly epic track, a departure from previous Muse efforts, and U2 influences in the ending are definitely reminiscent of Bellamy's chance to play Glasntonbury with The Edge. ***ANIMALS*** A more stripped down and subtle approach in this song, there are hints of Santana around the use of guitar. The fact that the noise of city bankers and traders battling is used on the out is significant, indeed this song taps into the entire theme of the album in that there is a dangerous, threatening unsustainability about our society. This is a haunting track that illustrates this really well, perfectly portraying the threat of it through the vocals. ***EXPLORERS*** A gentle intro - piano and soft Bellamy crooning - brings this one in. Eventually the build up of the song grows, and Bellamy's vocals are both chilling and haunting. Strings are deployed emotively, and whilst I wouldn't call this stand out track on the album, it is gorgeous to listen to. Rather than bursting into full-on epic song fame, this one is understated and elegant. ***BIG FREEZE*** The intro shows, in my opinions anyway, massive U2 hints - and before you run and hide, I mean that in a good way! Think Where The Streets Have No Name, not Batman stuff. Taut guitars, pre-naughties rock and great vocals courtesy of Mr Bellamy. Then after the intro the Muse-esque background comes into play and you get a more rounded song - but still with Bellamy doing a great Bono! Personally I love this track, it has components of rock throughout decades and isn't one of their more over-the-top technical modern efforts and shows that they can just do good stripped down old fashioned rock - there's a hint of Queen in the backing vocals to boot. A great instrumental section without kicking off into the high-octane Knights Of Cydonia madness shows a definite confidence and maturity about a band who can play basically whatever they like. Maybe sharing stage time with The Edge really did have an effect. ***SAVE ME*** One of the tracks on this album that are not the art child of Sir Matt of Bellamy - this one comes from Chris Wolstenholme, bassist legend that he be - they are based on his struggles against alcoholism and in a rare treat he takes over the vocals on both tracks. This is a gem - haunting, gentle and involving and gradually enthralling, perfectly conveying the psychology behind his experience whilst also being a stunning, epic track. Live, this was spine-tingling. The idea of hairs standing on end is a lazy refuge for many a writer, but hearing this live was one of the moments in my life when I experienced it. I know the rarity of those moments and Chris, as well as his supporting artists of course but primarily his talent, deserves so many plaudits for his bravery, honesty, creativity and superb songcrafting here. ***LIQUID STATE*** The darker side of Chris's songwriting here - a tense, dark, heavy and fast-paced rock intro, angry lyrics burst in and the guitars are so terse. But again the revelation is Chris as a vocalist - a superb voice, and having heard these tracks live, this isn't production utilised to indulge a bored band member. This man can sing - we hear enough backing vocals behind Bellamy to know he has the basics, but this and the previous track serve as a revelation. A superb, fast-paced, chaotic description of confusion and hopelessness. ***THE 2ND LAW: UNSUSTAINABLE*** The track that heralded the arrival of a new Muse album and that caused so much concern amongst the faithful for its direction. Incredibly taut strings open with an operatic background. This is Muse going Dubstep - is it a disastrous step or an exciting new move? A "broadcast" female voice interrupts the song, corrupted by production. Her script explains the reasoning behind the track and therefore the whole album - the human race is an unsustainable race. The second she goes to say the word, the Dubstep influences go sky-high. This was used as an opener on Muse's O2 gig and it was chilling, spring tingling and ominous all at once - live, this is utterly superb. I wouldn't go for Dubstep myself and this never truly convinced me on the album - although the mastery behind the technical aspect was undeniable - but when I saw this live I had shivers. The drums are basic, violent and tribal and the robotic voice declaring us to be unsustainable is scary as hell with the brilliantly experimental music. It leads into... ***THE 2ND LAW: ISOLATED SYSTEMS*** ...which is without doubt the most chilling and enthralling bit of music I have heard since the "In The House In A Heatbeat" track from 28 Weeks Later. An electronic, tense, tetchy but steady rhythm starts and gradually a base and news report voices join in. The build of tension is fantastic - this would be superb for a disaster movie, with emotive piano work amongst its fabric, and when played live it had its own video of what looked like the remains of society together and running from a threat. It is graceful, it is elegant, but there is an element of threat and danger in it, a superb track with a throbbing bass and awe-warning operatics that just lifts it to being truly superb. One of the highlights of this album for me. ***SO OVERALL?*** I truly think this is the best thing Muse have ever done. And given how highly I rate their back catalogue, that's going some. Epic, experimental, confident without arrogance, and also embracing great backing musicians and singers to create a truly whole-bodied sound, this album would have been superb even before you add the personal sincerity that comes with Chris's tracks. There's fun here, with one of the best stadium bands in the world happy in their position without being cocky but still able to show their influences on their sleeve and play with the resulting sounds. This is a superb album, I love every second of it and I play it so often even six months down the line from its release. I recommend it wholeheartedly to anyone who likes Muse tracks but to anyone who loves rock music in any form you might find something truly special for you here. I just hope I have done it justice, thank you for reading.
One of the bands responsible for my submersion into the modern rock genre has to be Muse. I first heard one of their tracks in 2001, and from that moment I was entranced. That track was called 'New Born' and provides fond memories of me and the girlfriend's first trip to Austria. Initially, I was not blown away from the band, but as I heard more of their material, I realised they were something special. They are currently one of the worlds hottest tickets for live shows, and are still producing some excellent music 13 years on from their debut album. Here are my thoughts of their latest long play record, The 2nd Law. --Muse-ic to my Ears-- Although I discovered Muse just after the release of their second album "The Origin Of Symmetry", I became aware that many others were in the same boat. This album was the breakthrough record, and tracks like the aforementioned "New Born", "Bliss" and "Plug in Baby" being big fan favourites. The following album developed and refined their style even more, with the fourth album "Black Holes and Revelations" took a slightly different electronia-enhanced approach but resulted in their finest work so far. This style was toned down a tad for the next record, and "The 2nd Law" attempts to combine both their classic and more edgy compositions with an even more different direction. Formed in 1994, originally going by the moniker "Rocket Baby Dolls" and hailing from Devon's own small town of Teignmouth, Muse are one of the most popular and well-known English rock bands. Muse's sound has been described as many things. Progressive rock, hybrid rock, heavy rock, classical and even electronica on it's own. I summarize this as alternative hybrid rock, it's really the best and simplest way to encapsulate it. They use a large range of traditional instruments, combining computer generated sounds, orchestral tones as well as some of the highest vocal skills you have ever heard. The front man of the band is responsible for this, Matthew Bellamy's vocals are incredible, and not just content with that, he plays a variety of instruments such as lead guitar and piano. The other members are equally as important, Dominic Howard takes the percussion and electronic stuff while the multi-skilled Chris Wolstenholme provides the bass guitar, keyboards and backing vocal to name a few. Up until now, they have achieved a good balance of all these factors. "The 2nd Law" is the bands 6th studio album. Muse's varying styles reflects into their best tracks in a sublime and astonishing manner. I personally prefer up tempo, heavy and catchy tracks, but I found myself loving some or there more plodding softer stuff, rock ballads and generally the more peculiar tracks such as "Citizen Erased". Granted, some of the earlier slower tracks can be a little monotonous, and some later ones a little bit too crazy, but overall their work is consistent, original and defining. --Packaging and Price-- The usual prices for a single disc CD are available, as well as the 2-disc limited edition with DVD, featuring a behind the scenes look at the making if the new record. Look to pay around £12 for this deluxe edition, £9 for the standard copy and just over £5 for the MP3 download. Recently many of my favourite bands have opted for the folding card CD case, and The 2nd Law comes to you in this form. I don't like card cases as they are not as durable and lack the protection needed for a CD. This one, although adorned with nice fibre-optic brain stem images and blurred arty photographs of the band, it has wide slots for the discs and thusly causes them to slide out even in storage. Many a time I have opened it and seen the disc fly across the floor. A plastic case would have been better. That said, the booklet is nice, with more themed illustrations and photos set against a black background. --Tracks-- 1 Supremacy - It pays to start on safe ground sometimes, and 'Supremacy' is this kind of semi-epic quintessential Muse sound. An ear catching angry guitar intro fades to soft vocals with a backing of a marching band. It rises in parts to a rather brilliant heavy guitar riff which becomes the staple of the track. Speeding up in places, while dropping back down to the riff flow, it's a fluid piece indeed. Some nice touches are added, distortion on the overlaying melody is wonderful, and Matt is in top form with the high vocals and cries. A perfect start to the album, and certainly gets you wanting to hear more. [8/10] 2 Madness - In a completely different tone to the previous track, 'Madness' in under-pinned my a blurred electric vocal sample, a warping synth bass and a constant plodding deep thumping drum hit. Mostly a vocal track, it's slow to get going with little changes as it progresses. The bridge guitar part is a tad clichéd, and the returning drop rather predictable. It's not offensive to ears, but just okay and simply just that. Nothing amazing. [5/10] 3 Panic Station - Seemingly taking cues from Cameo's 'Word Up' and a general sound that bears resemblance to ELOs material, 'Panic Station' in a good example of how Muse can surprise you now and then. Almost poppy and more lighter, it has a fun and lively flow, foot tapping a certainty with Matt taking a more snappy approach to the words. It has sing along aspects, a simple arrangement of a march drum loop and nice big-bands reverberating in the background. I like this a lot, not the usual Muse stuff, but very fitting for them and good to hear something fresh. [9/10] 4 Prelude - Simply a fill-in between tracks; piano, choir and orchestral chords blend nicely to act as a short building introduction to the next track. [5/10] 5 Survival - Again with an ELO-ish stunted vocal and piano inspired introduction, 'Survival' is billed as the leading track and I can see why, it has shades of the former Muse brilliance. A tension building sequence, Matt singing the single lines up until a heavy hit of dirty guitars, vocals reaching the higher screaming echelons and chiming choirs. It's fundamental idea is great, but for some reason I feel it isn't fully polished and doesn't fit together the way it should. Although a lot shorter in length, it tries to mirror the likes of 'Butterflies & Hurricanes', but falls short. Some typical excellent work with the drums and leads as usual however, but it almost feels incomplete. A shame, because it has the potential to be a truly epic track. [7/10] 6 Follow Me - A vocal starting point, the sound of doves among the strings in the background, you think this may become a lengthy rock ballad. This changes when the bass and drums start rolling in, Matt changing his voice to a call to the masses and all of a sudden, Bang! Dub-step phasing bass and synth make a very surprising appearance, something of which I did not expect from Muse. Reading the booklet notes, it's no shock that this additional sound is provided by clubbing dance outfit Nero. It almost works too, it's a very good track, I love the reverbed pitch changes in the bass in particular, but Matt's voice does not quite belong against the backdrop of the dance music bed. Or course, I found myself singing along, it has that draw factor, but something tells me this is not the sort of sound Muse will or should try again any time soon. [7/10] 7 Animals - Going into a more softer and flowing realm, 'Animals' is an execution of some of the best Muse material that takes a more alternate but recognisable direction. Well, sort of. Matt is again making fine soothing sounds common with the more docile Muse tunes, but it's the retro but superb melody guitar that wins this one over for me. Reminding me of Mike Oldfield's works and even a touch of a Radiohead in there, this is one of my favourite tracks on the album. Dipping out to bridges of typical Muse eloquence, it has something that I find very enjoyable for the soul. Radiohead fans would echo this sentiment and 'Animals' is probably the most accomplished track on the disc. [9/10] 8 Explorers - Simple mild piano's and whispering vocals instantly make you aware that this is a more usual Muse ballad. Strings are prevalent here, drums providing an equally mild support against the piano, strings and vocals. Personally, I find this a little dull and boring, kind of drawn out for the sake of it despite the fine production qualities. I don't like a high supporting group vocals, there is no catchy tune or riff, it's almost like an eighties drama show theme it seems. Not one of their best it has to said. [3/10] 9 Big Freeze - Some nice drum rim tapping starts this off, with some cheesy backing vocals echoing Matt's introducing verses. Again, it seems to be missing the oomph that you come to expect with Muse. Like 'Madness', it's not a bad track, but just doesn't deliver what you want. It has some cheeky funky guitar strumming, good string stretching and some milder big drum drops, be it still leaves me unsatisfied. Matt also seems to be trying to force the issue with the vocals too, and doesn't feel an organic as it should. [5/10] 10 Save Me - With Matt taking a backseat in the singing duties, this acts as a showcase for Chris to try his hand at making his own vocal skills shine through. While he has always done a fine job with the backing vocals, he doesn't have the penetration and octave range of Matt and this is clear from the outset. The guitar and drum arrangement is very basic, no major drum drops or solo spells as the whole song is hinged around Chris' harmonies. He does a fine job too, not the highest of talent in the voice department, but reminiscent of Athlete, Embrace and possibly Coldplay. A pleasant track, nice to listen in the background or whilst doing a task, but not the most memorable groundbreaking. [6/10] 11 Liquid State - This instantly reminded me of Muse's earlier track 'The Small Print', starting in a similar fashion. However, it has more familiarity with some of the american pop-rock such as the likes of Blink 182. Chris again takes the microphone, Matt seemingly on a break from the studio. This style is more suited to Chris' vocals, more rocky, up tempo with some nice bass riffs and guitars. Very short, but not a bad little blast. [7/10] 12 The 2nd Law: Unsustainable - Sample heavy, some nice epic big band chord hits and a solely more electronic sound in its entirety, it doesn't sound like a Muse track at all and would feel more in place on a Skrillex or Pendulum record. The only hints of its Muse connection would be the backing apocalyptical chords and Matt crying out over the loud, distorted bass synth and the slow drum & bass loops. It has obvious environmental and political statements to deliver with the robotic speech samples and squealing high tones. This is fine, although I'm not a biggest fan of this kind of message transference. Very enjoyable in a short and sharp shock kind of way, but not what I expect from Muse, and I'm not sure I can say I like that with any certainty. [7/10] 13 The 2nd Law: Isolated System - Staying with the synth/orchestra mixture, this time more sinister. With more urgent but darker chords and choirs, the haunting piano riff running throughout is wonderful. It sounds more mellow than 'Unsustainable', but share it's cues. For the first time I can ever remember, this is a full length instrumental composition; not a single vocal is uttered apart from the newscasters samples. The two tracks together are suppose to be the headliner for the album, but veering to the dance/ambient direction is not what a Muse fan is looking for. I was expecting a rousing epic climax with plenty of big drum riffs and loud guitars, but get a slightly gentle electric infused finish that ultimately is disappointing. I like this kind of music don't get me wrong, but not coming from Muse. [7/10] --Production-- All tracks Written and Produced by Muse (Matthew Bellamy, Chris Wolstenholme, Dominic Howard. Additional Mixing by Tommaso Colliva Additional Vocal Production by Paul Reeve Mastering by Ted Jensen Released by Helium 3/Warner Music UK Total Length - 32.27 minutes --Conclusion-- It's an odd one this, like two different albums mixed together to form one. Certain tracks are classic Muse, some are inspired with new additions such as 'Panic Station', but I don't feel comfortable with the heavy use of samples, extended synth, orchestral strings and computer sounds. I just doesn't justify what Muse are about. Glimpses of brilliance are in this record, and more of that should be included, not chilled-out cordial tunes or dub-step driven tracks. Overall, it's a fine album, but in my personal opinion Muse's weakest so far; nowhere near the heights of 'Absolution' or 'Black Holes and Revelations'. A bit of a let down, but still a must for any Muse fan and maybe for some dance fans to take a look at. Good, but not Great. Thanks for Reading. © Novabug
I have been a Muse fan for as long as I can remember and own every album they have ever released, so it went without saying that I would be investing in their latest album, The 2nd Law. It was released at the beginning of October 2012 after being delayed by around a month so I was incredibly eager to get my hands on it by the time it finally came out! I own the Deluxe Edition, so that it what I will be reviewing. The package itself comes in a cardboard case (a little disappointing as I love proper CD cases and felt it was a bit cheap), but it includes the 13 track CD album as well as a bonus DVD. The name "The 2nd Law" references the second law of thermodynamics, which is quoted in one of the tracks (Unsustainable) and the fascinating artwork on the album cover was apparently taken from the Human Connectome Project and represents the map of the human brain's pathways, "tracking the circuits in our heads and how we process information with bright, neon colors." I absolutely love the artwork with this album and couldn't wait to get it in my CD player. Track Listing: Disc: 1 1. Supremacy - I absolutely love this track, it is such a brilliant opener to the new album. Personally, I think it sounds a bit like it should be in a James Bond film! It features a dramatic into and then goes into beautiful lyrics from Matt Bellamy. This is up there as one of my favourite album tracks. 2. Madness - This was the second single to be released from The 2nd Law and is quiet quiet and haunting in contrast to track one on the album. It features a really interesting instrument that looks like a cross between a guitar and a light box (watch the video to see what I mean). This song is really catchy and I find it incredibly easy to listen to. 3. Panic Station - The first time I listened to the album, this was the track that jumped out at me. I thought it sounded a bit 80s, but again, found it very catchy and now find myself singing along! 4. Prelude - Classic Muse! This track is just under a minute long and is a classical piece. It may sound a bit odd to have this in the middle of an album, but actually, I find that it fits very well and does a great job of breaking up the songs and providing a bit of calm! 5. Survival - This is probably the best known track as it was released earlier in the year as the official track for the London 2012 Olympic Games. Following the previous classical track it bursts in with a dramatic beginning and is a wonderful song that now provides me with fantastic memories of the Olympics. This is one of the most commercial songs on the album. 6. Follow Me - This song is going be the third single from the album and will be released in December 2012. It starts with haunting backing music and Matt's beautiful voice and then goes into a dubstep track, which is pretty different for Muse. I wasn't sure how I would feel about them changing genre, but actually I have come to really love this song and think that it is a stunning song. 7. Animals - It's taken me a few listens to really get into this song, and I do like it, it's just not one of my personal favourites. 8. Explorers - This track is very gentle, but involving. It's all about the lyrics and focusses on not belonging in your own world, an incredibly engaging song. I can be doing something, get to the end of this song and realise that I've just been sitting there listening to the words. 9. Big Freeze - This song reminds me of U2. It adds a bit of a funk element, but doesn't lose it's inert Muse-ness! Another catchy track, once it goes up tempo you will find yourself dancing along to it! 10. Save Me - This track was written and performed by Chris Wolstenholme, he wrote it about his alcoholism. It starts slow and builds up gradually, it's another track that isn't one of my favourites. 11. Liquid State - This is the second track that was written and performed by Chris Wolstenholme about his alcoholism. It is quite heavy compared to the rest of the album and I find that it really reminds me of Foo Fighters. 12. The 2nd Law: Unsustainable - This track, for me, marks a different section to the album and consists of a unique mix of classical music, progressive rock and dubstep. It starts with classical music and a news person reporting on the end of the world. I didn't really like it the first time I heard it, but I have come to really quite like it! 13. The 2nd Law: Isolated System - This track features no vocals atall, mainly a haunting piano that reminds me of the music in the Exorcist. It also features the sound of news reports in the background and I find that this song really gets me thinking about things. Disc: 2 1. The Making Of The 2nd Law - A great insight into the band and how they work together. 2. Bonus Feature - This features a live performance. Overall, I would say that this album is a little different to their previous ones, but not in a bad way. They are obviously up for trying new things with the many dubstep influences on The 2nd Law and, personally, I think that they all pay off. I think it is a wonderful album, which I have listened to over and over. The beauty of a Muse CD is that I always seem to notice different things the more I listen to it, so I never get bored. I recently saw them touring in London and they performed a number of tracks from this album, all of which were incredible. I can easily say that Matt Bellamy has the best voice of anyone that I have ever seen live - AMAZING! Some of the performances have given new meaning to the album tracks as well, and I just can't stop listening to it. The album is for sale on Amazon, priced at £12 for the deluxe version, and the normal album can be picked up for around £10. It should also be available at all good record shops/websites. A must for any Muse fan, this gets 5 stars all the way!
The 2nd Law is Muse's 6th studio album and while that distinctive "Muse" sound is still there I would say that this is a slightly mellower album compared to their previous offerings. From the opening bass line in the majestic "Supremacy", The 2nd Law doesn't disappoint. Matthew Bellamy's towering vocals are impressive as ever and you find yourself hastily putting away all your crystal glasses, such is his power! The 2nd track madness is completely different with almost a techno beat and if you can remember back to U2's Zooropa album, you may notice a similar style here and anyone who has seen the song performed will note the unusual instrument used to create the hypnotic beat, almost a cross between a guitar and light sabre! As a big Muse fan I must admit I was a little bit disappointed when I first listened to the album but as with any great album, the more you listen to it, the better it gets and as you listen again and again you will discover subtle lyrics and beats that somehow you missed first time round. At time of writing I was going to select a favourite song from the album, but to be honest it changes day by day, such is the variety and quality of songs on The 2nd Law! In summary then, another outstanding album from Muse which demands that you listen to it over and over again.
Disc #1 Tracklisting
3 Panic Station
6 Follow Me
9 Big Freeze
10 Save Me
11 Liquid State
12 The 2nd Law: Unsustainable
13 The 2nd Law: Isolated System
Disc #2 Tracklisting
1 The Making Of The 2nd Law
2 Bonus Feature