‘Hyper Music’ by Muse
From the album Origin of Symmetry (2001)
For quite a long time Muse were probably my favourite band. To say I’ve been disappointed with their last two efforts, Drones (2015) and The 2nd Law (2012), would be an understatement. I believe the band have delved too far into the tin foil hat-wearing Orwellian prog-rock paranoia without keeping things fun or interesting (see ‘Knights of Cydonia’).
I keep my vast CD collection at my mother’s house and refresh my car CDs every time I go home. On my last visit I picked up Origin of Symmetry, an album I probably hadn’t heard all the way through for a very long time, and the other day I popped it into the CD player in my car. All of a sudden I was twelve years old again sat at my dear old departed nan and grandad’s house being completely and utterly blown away by this new band on Kerrang. The question is, on an album literally packed full of bangers, how do you pick the best banger? I didn’t want to go with the obvious, ‘Feeling Good’, ‘Plug in Baby’, etc., so I went for the one with the most balls and that, by far and away, is ‘Hyper Music’.
Guitar scratches and the open hi-hat count in of this song, before it plunges full-fury into the first riff, with that bass sound from the mighty Chris Wolstenholme and Matt Bellamy’s unbelievably rangy ‘ooh’s. After this comes one of my favourite progressions in modern rock music; the way the bass runs up the neck and sits in with Bellamy’s reasonably jangly guitar riff, held together with Dom Howard’s drums, makes me so happy. Just as powerful is the second verse, in which the guitar drops out for half and comes back in, picked slowly, for the last few lines of vocals. The technical abilities of the three members of Muse are scary; seeing Wolstenholme live (as I have done four times) is hypnotic and he’s also a man that you categorically wouldn’t want to fight.
If you’re around the same age as me, take a trip down memory lane and give the whole of Origin of Symmetry a spin; I promise you won’t be disappointed!