Cronica del concierto en el Madison Square Garden

[Anna]

Interesante  ^^:

MOODY MUSE CONFUSE
August 8, 2007 -- AT Muse's Madison Square Garden debut Monday, the dark, moody Brit trio were the Dr. Jekyll and Mr. Hyde of contemporary rock.

When lead singer Matthew Bellamy was strapped into his electric six-string guitar, Muse was a hard-rock giant. The music was heavy, infused with arena power that made heads bang and devil fingers poke the air. During the amped-up electric tunes, they could have renamed the group Rage Against the Universe.

But when he plopped down at the piano (or strummed an acoustic guitar), Muse seemed like a slightly more muscular Coldplay or a brainless Radiohead passing off pretentious noodling for deep musical thought.

The Garden gig was at its best when Muse leaned on an extremely heavy four-horsemen attack where the thunder of the music dovetailed with the lyrics about Orwellian government manipulation and end-of-the-world scenarios.

The band knows its strength is brute force. They came on strong (and left stronger) with magnificent hard rock played at make-your-ears-bleed volume - you felt your clothing and hair vibrate. In between, the center was still loud but made soft by the piano and acoustic guitars, which accentuated the whiny quality in Bellamy's voice that comes off like a near-miss Freddy Mercury impression.

Where the band didn't fail was on songs such as "Time Is Running Out," "Starlight" and "Supermassive Black Hole" - each of which was supported by a devoted fan choir.

Muse should take a hard look at its catalog, cull some of the older, dated softies out of its set - and concentrate on becoming the new face of Brit hard rock.

fuente: http://www.nypost.com/seven/08082007/entertainment/music/moody_muse_confuse_music_dan_aquilante.htm

[PtitRouf]

Si la verdad, muy interesante  ^^

[Biork]

Preciosa la crónica  ^^ Los ponen muy bien, pero parece que no van a cambiar con lo de... "cull some of the older" Parece ser que prefieren el post Absolution, pfff ellos se lo pierden  :cool: :cool:

[PtitRouf]

Y eso que sólo conocen Absolution...

[Biork]

Sisi, es lo que tiene que el Origin se lanzara en EEUU en... 2005!!!!   :huh:

[deborah X]

radiohead, lol

[thalvas]

Y eso que sólo conocen Absolution...

Y BH&R, no?  Bueno, a mi me mola mucho el Showbiz y el OOS. Un setlist sin canciones de sus primeros discos... pff, un poco petardo!

[deborah X]

dos más...

Muse lights up MSG
BY J. EDWARD KEYES | Special to Newsday
    10:24 AM EDT, August 7, 2007

In the mid-'80s, a prime adolescent entertainment was the late-night laser show. Carloads of rambunctious teenagers would swarm the local planetarium where scrupulous DJs would pair shivery squiggles of blue and white and pink with opulent, complicated rock songs worthy of their majesty and grandeur.

In the mid-'00s, there's a band called Muse, and it also has a thing for bright lights, but its special effects are a little more advanced. At Madison Square Garden on Monday, Muse employed panels festooned with buzzing fluorescent tubes, video screens that cycled through images of spacecrafts and computer-generated robots, and giant, criss-crossing lattices of red, purple and blue. Even the drum platform glowed.

Just like those planetarium shows, all that wattage required songs enormous enough to accompany it. Fortunately, enormity is Muse's specialty. For the last eight years the English trio has written songs that graft the academic complexity of '70s prog onto slighter genres like Britpop and electro and topped them with Matt Bellamy's keening wail. On record, those compositions sound overworked and overlong. Placed in a basketball arena and gilded with lasers, they sound just about right.

The world is always ending in Muse songs, so every Muse song is about the necessity of making one grand final gesture before the whole thing goes up in smoke. The chorus of the group's breakthrough hit goes "our time is running out," and on Monday they performed it beneath images of rising warheads and a ticking clock. It was one of the evening's subtler moments.

In "Butterflies and Hurricanes," the band built feverishly to the inevitable surge while Bellamy pleaded "You've got to be the best/You've got to change the world." "Apocalypse Please" started with calamity, Bellamy sourly invoking "something Biblical" while his bandmates pitched and rolled behind him. Either Muse truly believes in the preventive power of the individual or they just haven't read that poem about the world ending with a whimper.

Even the quiet songs don't stay quiet for long; "City of Delusion" opened with Bellamy thoughtfully strumming an acoustic guitar, but before too long the drums come storming in and the song was attacked by swooping synths.

And herein lies the essential problem with a Muse show: after a while, all that enormity can start to wreak havoc with your sense of scale. The constant pounding and wailing makes it tough to tell which crescendos are the important ones. Or to put it another way: when everything's big, is anything big?

Near the end of the show the group played "Plug In Baby," a thundering number built around broad, clawlike riffs. As the song opened, Bellamy strode out to the end of the stage and held his guitar aloft, reflecting beams of white light out into the audience. He held this pose for a few solid minutes -- just long enough for the stage hands to roll out weather balloons full of confetti, which the crowd giddily walloped while Muse wrestled out one final clarion call for the four horsemen.

Out with a bang, indeed.

http://www.newsday.com/entertainment/music/ny-etmuse0807,0,6339917.story


Riding Through the Veins of History on a Triumphal Wave of Sound
By KELEFA SANNEH
Published: August 8, 2007

There are bands that shuffle humbly onto the stage of Madison Square Garden, happy to be there and nervous about filling the room with sound. (And with fans.) Then there is Muse.

Muse, a famously bombastic trio from Britain, is now established as one of the biggest bands in Europe. American fans are coming around too: “Black Holes and Revelations” (Warner Brothers), the most recent Muse album, has sold about 350,000 copies in the United States. So Monday’s concert at the Garden made sense: It was an impressive, cheerfully overblown performance by a band that has never pretended to think small.

The set began with a whooshing ride through “Knights of Cydonia,” in which a long overture gives way to Matthew Bellamy’s crooned invitation: “Come ride with me through the veins of history.” In Muse’s world, this counts as idle banter.

Mr. Bellamy’s voice is often compared to the operatic moan of Thom Yorke, from Radiohead, although Mr. Yorke might beg to differ. At times, Muse sounds like what Radiohead has strenuously avoided becoming: a theatrical arena-rock juggernaut, unafraid of ridiculous lyrics or huge space-age riffs.

Muse embraces prog-rock trappings that many young bands shun, filling songs with triumphal modulations and flashy solos. In the process, the band seems to have discovered an underserved segment of the market. If you’re a fan searching for an unabashedly big-sounding rock band — well, you don’t have lots of options.

It helps, too, that the members of Muse have figured out a way to make just about every song sound like a potential radio hit. “Take a Bow,” the first song from “Black Holes and Revelations,” is based on a series of electronic arpeggios that create a feeling of infinite ascension. Despite the disaffected lyrics (Mr. Bellamy seems to be addressing a prime minister or a president when he sings, “You will burn in hell, you burn in hell for your sins”), the song sounds ecstatic, going up and up and up.

The band’s drummer, Dominic Howard, helped the music crash and splash, and Chris Wolstenholme’s bass lines sometimes hinted at the propulsive precision of dance music. But mainly this was Mr. Bellamy’s show. He worked overtime, singing and peeling off fuzzy guitar solos and sometimes switching to piano. During the plodding, piano-heavy middle of the set, it wasn’t hard to wish he would switch back to guitar. But then he did, and (almost) all was forgiven.

There’s a reason that the 1970s-style virtuoso became the laughingstock of rock music; the relationship between rock star and music nerd has long been uneasy. But seeing a band like Muse in a place like this makes it easy to believe that lots of fans are missing out. When the lights are flashing, and the rhythm section is pounding, and Mr. Bellamy drops to his knees to tap away at his fretboard — well, the proper technical term for this moment is “awesome.”

http://www.nytimes.com/2007/08/08/arts/music/08muse.html?_r=1&ref=music&oref=slogin

[Biork]

Buenas crónicas!!!  ^^ ¿Alguien duda de que Muse haya conquistado EEUU? 

[@n@k@]

estos chicos conquistan vayan donde vayan ^^

[deborah X]

otra muy completa...

Muse: Electric Garden
Madison Square Garden – New York, NY, United States – August 6, 2007
by Sam Frank

Watching a band perform live is meant to be an experience that surpasses the ingenuity of their studio album. Led Zeppelin, Pink Floyd, The Grateful Dead, and many other successful bands established themselves as legends in the music industry because they would play alternate, often extended, versions of their songs in juxtaposition with mind-blowing visuals that would simultaneously inspire every onlooker in the venue; thus solidifying their godlike reputation across the globe, and in early August (2007), British band Muse carried that rock'n'roll torch through New York City's renowned Madison Square Garden as they took 20,000 screaming Muse fanatics through a kaleidoscopic audio/visual journey that consisted of five huge screens, another five multi-colored luminous panels, king-sized balloons filled with confetti, and an slightly elevated drum platform at center stage with four lead screen panes wrapped around its base.

Number nine in Q Magazine's "10 Most Exciting Bands On The Planet Right Now," Muse, comprising of Matthew Bellamy (vocals, guitar, keyboards), Chris Wolstenholme (bass guitar, keyboards, vocals) and Dominic Howard (drums, percussion), have traveled a tumultuous road to stardom since winning a local battle of the bands contest back in 1994, as the gothic group Rocket Baby Dolls. After changing their name a few more times the band finally chose the Muse moniker before releasing a series of EPs that eventually got them signed to Maverick Records in 1998. The following year Muse put out their first full length LP, Showbiz, which sold over 700,000 copies and spawned two singles, "Unintended" and "Muscle Museum." Despite being deemed Radiohead copycats, Muse dropped Origin of Symmetry in 2001 and found hints of success when singles "Plug In Baby" and "New Born" both found their way into the British Top 20 Countdown. Origin of Symmetry might have bolstered Muse's American fan base, but Maverick Records did not consider Bellamy's voice "radio-friendly" and requested that Muse change some of their songs prior to U.S. release. Muse, insulted, declined the request and left the label altogether, which resulted in Maverick's decision not to release Origin of Symmetry in America. The band signed to Warner Bros Records in early 2004, and in September 2005, Origin of Symmetry made its American debut. While touring for Origin of Symmetry, Muse began to develop notoriety for their dynamic live shows which inevitably led to the release of a live CD/DVD titled Hullabaloo. Muse ended the year on a high note as they were named Best Live Band at the 2002 Kerrang! Awards.

In 2003, Muse got together with producer Rich Costey (known for his production work with Rage Against The Machine) and recorded a new studio album called Absolution. Described as an "Uplifting" album by Muse themselves, Absolution touches upon apocalyptic themes that derive from Bellamy's interest in conspiracy theories, theology, science, and the supernatural. The album was well received around the globe and earned Muse their first UK number 1 album. With chart topping singles "Stockholm Syndrome," "Time is Running Out," and "Hysteria" Muse was invited to headline the 2004 Glastonbury Festival. Wowing hordes of people at Glastonbury, Muse played what Bellamy described as "the best gig of our lives." The euphoric feeling of this phenomenal achievement was soon halted as Dominic Howard's father died from a heart attack after watching his son's Glastonbury performance. The band wrapped up touring in January of 2005 and took some time off before resurfacing in the summer of 2006 with their most recent opus to date, Black Holes and Revelations. Earning their second UK album chart topper, Black Holes and Revelations is a sonic roller coaster that combines heavy metal, electronica, and classical music; taking listeners through a purifying 70 minute adrenaline rush. With songs like the effervescent "Invincible" and mythological "Knights of Cydonia," it's obvious Muse have perfected their craft, and the 20,000 people who filled up Madison Square Garden in early August got a first hand look at why the BRIT awards deemed this talented band the Best Live Act of 2007.

Resembling sardines packed in a tiny can, the ocean of spirited Muse fans who occupied Madison Square Garden let out a thunderous roar as a Matt Bellamy, Dominic Howard, and Chris Wolstenholme emerged from a red and orange haze. Within seconds, MSG exploded into a barrage of flashing blues, purples, reds, and whites as Bellamy, dressed in an all red suit, strummed out the opening riffs to Black Holes and Revelations' "Knights of Cydonia." Howard's infectious John Bonham-esque beats drove the crowd wild while Wolstenholme waved his bass guitar at fans in the front row. This tidal wave of stimulation attacked all the senses, and set the tone for the rest of the show.

MuseChanneling Freddie Mercury, Bellamy transported fans to another galaxy as his operatic voice reverberated across Madison Square Garden during a beautiful version of "Butterflies & Hurricanes" off 2003's Absolution. Synchronized with Howard's pulsating drum technique, flashes of white light beamed throughout the arena like cannonballs of condensed energy. A break in the tension came during Bellamy's mesmerizing piano solo that eventually climaxed with an eruption of compelling instrumentation and strobe lighting effects. Before a sparkling backdrop that resembled bright stars in a sky, Bellamy continued his piano/falsetto combination during a dark intro to Black Holes and Revelations' "Hoodoo." Each piano note incited a unique shape on all three screens above the stage. The addition of drums and bass accelerated the visual intensity; thus, ripening both sonic and optical elements into a wall of sensory bliss that left the audience shouting for more.

Other highlights included a montage of radar screens, people marching, and biohazard signs flashing upon the screens as a orange and red mist enveloped the stage during a fierce "Apocalypse Please," from Absolution; the psychedelic patterns projecting from the back panels as huge confetti filled balloons bounced over fans on the floor during a buoyant "Plug In Baby," from 2001's Origin of Symmetry; and the rambunctious guitar solo and pouncing drums that finished off a breathtaking version of "Invincible," off Black Holes and Revelations. The audience showed their appreciation for Muse's mind expanding assault by mirroring an arena overridden with fireflies as thousands of people raised their lighters and glowing cell phones in the air. Muse closed the show on a green note as green lasers backed by screens filled with pulsating cubes of the same color lured everyone's eyes while Black Holes and Revelations' spellbinding first track, "Take A Bow," stamped an exclamation point of power on their New York City performance.

"Their music really touches my soul," described Jared Levine of Haverstraw New York. "I've seen them four times, and they seem to get better every time. They are absolutely amazing and this show was outstanding." It's safe to say that Jared's view of this show is indicative of the thousands of fans who left Madison Square Garden after Muse's awe-inspiring performance. Despite their bumpy road to stardom, Muse have accomplished in a decade what most bands spend their entire careers trying to achieve. This is because they go above and beyond the call of duty during their live performances. Muse belongs to the new generation of bands who my grandchildren will hear about 50 years from now, because, like rock legends who have amazed audiences before them, they have learned how to use their talents to touch the innermost parts of one's soul. And that deserves, as my new friend Jared would say, "five stars and two thumbs up!"

http://www.unratedmagazine.com/Articles/Archive/2007/Muse_070806.cfm

[gero]

Esta última está muy bien. Se nota que el tío es fan ^^

Pero hay una cosa en la segunda que lo ha clavao:
"when everything's big, is anything big?"

Es lo que me ha pasado a mí las últimas veces que los he visto. Que me han gustado muchísimo porque ha sido la caña de españa y tal, pero claro, no tocan falling down ni screenager ni cosas así y todo es pura energía. Tanta y tan buena que te acabas acostumbrando a eso. Y dejan de sorprenderte.

¿Pero acaso sería tan descabellado que de repente tocasen.. Spiral Static por ejemplo.. o UNO, Hyper Music ya puestos?
No es tan difícil cambiar el setlist de un día para otro :argh

[Beibi]

El tema del setlist es el cuento de nunca acabar, pero si tocaran hyper music se lo perdonaba todo :shrek

[El Puto Subli]

yo se lo perdonaba todo por UNO, pero por hyper music no te digo yo que no fuera a darles mi perdon tambien...

por cierto, parece que triunfaron eh? jeje

[alcarin]

ooohhhh Uno  :shrek
como me gustaria ver esa canción en directo...
y bueno Hyper Music también me gusta muuucho, pero nos quedaremos con las ganas (o alomejor no  :rolleyes:)