Post by soundscapemn on Jun 29, 2009 7:18:54 GMT
erato1.wordpress.com/2009/06/20/classic-rock-magazine-2009-muse-article/
"I've tried to push myself to learn new things, be it on an instrument or whatever," he said. "I played piano, but I didn't start progressing until after Showbiz. I'm influenced by a fair bit of classical music, but whe I say that, people think of Mozart, and I hate Mozart. The stuff I'm into is early 19th and 20th century where it's pushing the extremes of the instruments if the time."
Though personally he was split between apathetic resignation at impending global disintegration and unabated joy at simply being alive, musically, Absolution was an affront to a stagnant rock scene that, with the exception of "amazingly important" act like Nirvana, RATM, Refused and Tool, Bellamy had considered to have languished in its creative indifference for far too long.
"Rock, strangely enough, has been one of the most conservative genres around, and it's meant to be the opposite," he explained. "It's been a relative simple formula since the 70's and few bands are willing to push away from that. If you look at the most successful bands in rock from the last 10 years, they don't touch upon an ounce of the creativity of rock from the 70's." Musical wight came from elsewhere. "I recommend everyone out there listen to Romeo and Juliet by Prokofiev. It's one of the heaviest pieces of music you'll ever hear.
As 2006’s supermodern Black Holes and Revelations appeared to be the culmination everything Muse had learned so far, their two sold-out nights at the newly constructed Wembley stadium the following year seemed vindication of sticking to principles and never abandoning even the most outré of ideas. Anyone who wanted to congratulate them was welcome. Anyone who wanted to call them genius was less so.
Matt: “Musically to say that is an insult to other artists who’ve done stuff way more challenging than us. It worries me when people perceive this band at the level of genius. People that are genius, I don’t know where they are these days.”
Though personally he was split between apathetic resignation at impending global disintegration and unabated joy at simply being alive, musically, Absolution was an affront to a stagnant rock scene that, with the exception of "amazingly important" act like Nirvana, RATM, Refused and Tool, Bellamy had considered to have languished in its creative indifference for far too long.
"Rock, strangely enough, has been one of the most conservative genres around, and it's meant to be the opposite," he explained. "It's been a relative simple formula since the 70's and few bands are willing to push away from that. If you look at the most successful bands in rock from the last 10 years, they don't touch upon an ounce of the creativity of rock from the 70's." Musical wight came from elsewhere. "I recommend everyone out there listen to Romeo and Juliet by Prokofiev. It's one of the heaviest pieces of music you'll ever hear.
As 2006’s supermodern Black Holes and Revelations appeared to be the culmination everything Muse had learned so far, their two sold-out nights at the newly constructed Wembley stadium the following year seemed vindication of sticking to principles and never abandoning even the most outré of ideas. Anyone who wanted to congratulate them was welcome. Anyone who wanted to call them genius was less so.
Matt: “Musically to say that is an insult to other artists who’ve done stuff way more challenging than us. It worries me when people perceive this band at the level of genius. People that are genius, I don’t know where they are these days.”
