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Black Holes and Revelations is the fourth studio album from alternative/neo-progressive rock band, Muse (they also have a live double album, Hullabaloo, which also features various B-sides). The album covers new ground and achieves what the band claim to have been aiming for in an album since the beginning of their career.

It takes influences from a wider range of genres than the first three albums, including electro/techno (!) and has been compared to the likes of Depeche Mode, Marilyn Manson and, er, somehow Britney Spears.

In many ways, the album behaves just like a typical Muse album should (not that there is anything at all typical about Muse); sounding very atmospheric and somewhat theatrical at times, though it never outdoes the mighty "Micro Cuts" (Origin of Symmetry, 2001) in this respect.

However, their sound has evolved since Absolution (2003) in several ways. It takes a more optimistic approach than the first three albums, which focussed on the end of the world amongst other dark themes.

The best way to get a feel for the album as a whole is to discuss each track individually:

Take A Bow
To be brutally honest, the only word to describe this song on first listening to it is "scary". This is due to the unfamiliarly large techno influence on the song; the most heavily techno influenced track on the album. Although Muse are no strangers to the sound of keyboards/piano as we can see from their other albums – in particular Absolution – this song breaks all previous barriers in the way in which keyboards are used. Lyrically though, the song is strong and overall it is an interesting song. It takes a few listens though, and, by Muse's standards at least, it is probably the most disappointing track on the album in my opinion. Nevertheless, it is still a very good song, and an intriguing start to the record.

Starlight
This is to be the second single to be released from the album in the UK. The song features Matthew Bellamy's classic piano playing and heartfelt lyrics. The song contributes to the album what "Sing For Absolution" did to Absolution.

Supermassive Black Hole
The first single from this long-awaited new album from Muse, this goth-disco groove is the main reason for the three aforementioned musical comparisons. Bellamy's voice is smooth and falsetto and the guitars grind to create an altogether brilliant song. This was a great first single to encourage album sales as it appeals to the wider audience, and not just the obscure Muse following.

Map of the Problematique
This is one of the most amazing tracks on the album. It sounds like a song from a sci-fi or action movie soundtrack. The lyrics are intelligent and moving and the vocals in the chorus are captivating as Bellamy warbles the words "Loneliness be over".

Soldier's Poem
Soldier's Poem is a graceful song but at just two minutes long, it doesn't hang around for long. The song is particularly good, mainly due to the lyrics and especially the vocals. The voice of the "poem" talks about the injustice of having fought in wars only for this effort to be received ungratefully. Bellamy's voice soars and his backing vocals are amazingly deep and expressive. An unexpected highlight.

Invincible
Quite a soft, poppy song for Muse, though it swiftly moves into a swept arpeggio solo of the crazy variety, as can be expected of Bellamy. Bellamy's bold vocals then take hold to create an ending of huge proportions. On first listen, the song is passable, but I assure you that it is a grower.

Assassin
Easily one of the best songs on the album, Assassin demonstrates the talent of drummer Dominic Howard as well as both the vocal and guitar expertise of Bellamy. After an intriguing intro, the frantic drums kick in and immediately let the listener know what they are in for! The song is concise with yet another dramatic chorus and booming backing vocals. The closest the album gets to some of their earlier metal ways.

Exo-Politics
An exceedingly catchy offering, the song has fascinating lyrics including "When the Zetas fill the skies, It's just our leaders in disguise, Fully loaded satellites, Will conquer nothing but our minds", demonstrating Bellamy's assorted interests. Another highlight of the album, this would be a successful third single, as it proves that Muse can still make a colossal anthem, rather like "Hysteria" (Absolution, 2003) or "Muscle Museum" (Showbiz, 1999).

City of Delusion
This is an unusual sounding track incorporating the mystifying sounds of strings and there is even a trumpet solo! Again, Bellamy's immense voice creates a eerie effect to this unique song.

Hoodoo
Another one of those songs that on first listen, have little impact. But after several runs you begin to appreciate it more, especially musically. The guitar is plucked mysteriously and the piano is played zealously - a Muse album would not be complete without a taste of Bellamy's classical playing style.

Knights of Cydonia
The standout track of the album, this song is of massive proportions. It starts off with the sound of horse hooves and neighs, before launching into a spaghetti western style epic. The song has few lyrics but their impact is high nevertheless. After the introductory screams of "La la la", drenched in effects, from Bellamy, and the songs only verse, is a rousing chorus in varying levels of pitch – featuring the top extreme of Bellamy's vocal range if you listen carefully. This segues into a heavy upbeat riff and more repetitions of the chorus. The different sections make for an absorbing and highly satisfying piece of music.

Overall, this is a fantastically varied album, reaching new heights for the band. I would seriously recommend you buy the album whether you are an avid Muse fan or not, and if not, to go out and buy their other records as well. Do not listen to anyone who tries to tell you that Muse are a dull, insipid band – they are the complete opposite and definitely worth a listen.
9/10

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