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Track List
01) New Born
02) Bliss
03) Space Dementia
04) Hyper Music
05) Plug In Baby
06) Citizen Erased
07) Micro Cuts
08) Screenager
09) Darkshines
10) Feeling Good
11) Futurism
12) Megalomania
01) New Born
02) Bliss
03) Space Dementia
04) Hyper Music
05) Plug In Baby
06) Citizen Erased
07) Micro Cuts
08) Screenager
09) Darkshines
10) Feeling Good
11) Futurism
12) Megalomania
6:05
4:14
6:22
3:22
3:42
7:21
3:40
4:22
4:49
3:21
3:29
4:38
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2001
Alternative Rock
Rousing
Rock/Pop
---
Fast
Album
0 copies
Album Description
Available in:
Origin of Symmetry è il secondo album in studio del gruppo musicale britannico Muse, pubblicato il 17 luglio 2001 dalla Mushroom Records.
L'album venne coprodotto da David Bottrill, John Leckie (il quale collaborò nel precedente album) e dai Muse stessi; inoltre raggiunse la terza posizione nella UK Albums Chart e vendette 100.000 copie nel Regno Unito, aggiudicandosi un disco d'oro e un disco di platino, la seconda posizione in Francia, la quinta in Italia e la settima in Austria e 1.300.000 nel resto del mondo.
Il titolo dell'album deriva da un concetto proposto da Michio Kaku nel suo libro Hyperspace che si basa sulla teoria delle stringhe.
L'album è il risultato del cambiamento che il gruppo ha subito durante il loro primo e intenso tour per la promozione del precedente lavoro: è più orientato su riff e assoli di chitarra risultando leggermente più scuro di Showbiz e orientandosi in uno stile hard rock. L'idea della band era quello di presentare al pubblico il loro lato più eccentrico, avvalendosi anche di strumenti come l'organo o il balafon.
New Born, Bliss, Plug in Baby e Darkshines vennero registrate con uno dei produttori, David Bottrill, alla fine del 2000 in uno studio di registrazione nel Surrey in una sessione di pochi giorni e costituiscono la parte più sperimentale del disco. Inoltre, l'album venne accolto con giudizi prevalentemente positivi e nel 2006 guadagnò la posizione 74 nella classifica del Q Magazine come uno dei 100 migliori album di tutti i tempi.
Il 18 agosto 2009, per commemorare il decimo anniversario dalla pubblicazione di Showbiz, Origin of Symmetry fu pubblicato in Europa e in Nord America nel formato 33 giri sotto l'etichetta Warner Music Group.
User Album Review
To give Origin of Symmetry some context, it was the album that pushed Muse into upper echelons of the charts; a set that marked Matt Bellamy’s lyrics out as speaking defiantly, ponderously, on behalf of Muse’s ever-growing fanbase. During interviews in the run-up, they talked of this album marrying their equally-divided love of Rachmaninoff and Rage Against the Machine, and a growing number of fans lapped it up.
Now five albums in, this colossal second collection ”“ released in 2001 ”“ plays back like a prototype for the music Muse went on to create. Origin of Symmetry documents change and the loss of self; how people around its nameless leader are superfluous, constantly changing. It’s about how something deeper stays the same, and its strained virtuosity proves the perfect partner for the sentiment throughout.
Origin of Symmetry’s aims were always clear: as ‘outsider’ as it feels, the preposterous melodrama is entirely mainstream ”“ something the masses can easily identify with. It shows a band with the drive and unfettered ambition to create a standalone marvel which not only awakens the ghosts and clichés from prog’s pompous past, but entirely adds its own voice. And Bellamy’s voice is intelligent and familiar, his cold grandiosity spreading like wildfire as the album plays out.
Listening to this with the benefit of hindsight shows Darkshines to be a skeletal foreshadow of Black Holes and Revelations’ Hoodoo, for its falsetto and aggravation. Instruments crash before they burst, with Citizen Erased going the furthest in mimicking feelings of desolation. Micro Cuts is the sharpest-sounding song here, firmly proving Muse to be far more than Queen impersonators.
Bellamy issued a retort to those scared of Muse coming across as too earnest with a deadpan cover of Nina Simone’s version of Feeling Good, which not only proved spectacularly dippy but also a world away from the US bands of the time (nu-metal was rife) conveying a similar sense of gloom. The zeal in Plug In Baby’s huge, Carry On riffs managed, triumphantly, to seal the deal. But as phenomenal as Origin of Symmetry is, there’s certainly easy-to-spot filler: Darkshines is relatively directionless, and Screenager’s aching melancholy feels like a giant stutter in the tracklist.
Origin of Symmetry sees Muse embracing despondency and turning it into something collective, something beautiful. Everything feels belatedly pubescent, like an overblown stamina test ”“ and no matter how Muse’s fans then may have grown up, it’s still spectacularly foreboding.
External Album Reviews
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User Comments
Available in:
Origin of Symmetry è il secondo album in studio del gruppo musicale britannico Muse, pubblicato il 17 luglio 2001 dalla Mushroom Records.
L'album venne coprodotto da David Bottrill, John Leckie (il quale collaborò nel precedente album) e dai Muse stessi; inoltre raggiunse la terza posizione nella UK Albums Chart e vendette 100.000 copie nel Regno Unito, aggiudicandosi un disco d'oro e un disco di platino, la seconda posizione in Francia, la quinta in Italia e la settima in Austria e 1.300.000 nel resto del mondo.
Il titolo dell'album deriva da un concetto proposto da Michio Kaku nel suo libro Hyperspace che si basa sulla teoria delle stringhe.
L'album è il risultato del cambiamento che il gruppo ha subito durante il loro primo e intenso tour per la promozione del precedente lavoro: è più orientato su riff e assoli di chitarra risultando leggermente più scuro di Showbiz e orientandosi in uno stile hard rock. L'idea della band era quello di presentare al pubblico il loro lato più eccentrico, avvalendosi anche di strumenti come l'organo o il balafon.
New Born, Bliss, Plug in Baby e Darkshines vennero registrate con uno dei produttori, David Bottrill, alla fine del 2000 in uno studio di registrazione nel Surrey in una sessione di pochi giorni e costituiscono la parte più sperimentale del disco. Inoltre, l'album venne accolto con giudizi prevalentemente positivi e nel 2006 guadagnò la posizione 74 nella classifica del Q Magazine come uno dei 100 migliori album di tutti i tempi.
Il 18 agosto 2009, per commemorare il decimo anniversario dalla pubblicazione di Showbiz, Origin of Symmetry fu pubblicato in Europa e in Nord America nel formato 33 giri sotto l'etichetta Warner Music Group.
User Album Review
To give Origin of Symmetry some context, it was the album that pushed Muse into upper echelons of the charts; a set that marked Matt Bellamy’s lyrics out as speaking defiantly, ponderously, on behalf of Muse’s ever-growing fanbase. During interviews in the run-up, they talked of this album marrying their equally-divided love of Rachmaninoff and Rage Against the Machine, and a growing number of fans lapped it up.
Now five albums in, this colossal second collection ”“ released in 2001 ”“ plays back like a prototype for the music Muse went on to create. Origin of Symmetry documents change and the loss of self; how people around its nameless leader are superfluous, constantly changing. It’s about how something deeper stays the same, and its strained virtuosity proves the perfect partner for the sentiment throughout.
Origin of Symmetry’s aims were always clear: as ‘outsider’ as it feels, the preposterous melodrama is entirely mainstream ”“ something the masses can easily identify with. It shows a band with the drive and unfettered ambition to create a standalone marvel which not only awakens the ghosts and clichés from prog’s pompous past, but entirely adds its own voice. And Bellamy’s voice is intelligent and familiar, his cold grandiosity spreading like wildfire as the album plays out.
Listening to this with the benefit of hindsight shows Darkshines to be a skeletal foreshadow of Black Holes and Revelations’ Hoodoo, for its falsetto and aggravation. Instruments crash before they burst, with Citizen Erased going the furthest in mimicking feelings of desolation. Micro Cuts is the sharpest-sounding song here, firmly proving Muse to be far more than Queen impersonators.
Bellamy issued a retort to those scared of Muse coming across as too earnest with a deadpan cover of Nina Simone’s version of Feeling Good, which not only proved spectacularly dippy but also a world away from the US bands of the time (nu-metal was rife) conveying a similar sense of gloom. The zeal in Plug In Baby’s huge, Carry On riffs managed, triumphantly, to seal the deal. But as phenomenal as Origin of Symmetry is, there’s certainly easy-to-spot filler: Darkshines is relatively directionless, and Screenager’s aching melancholy feels like a giant stutter in the tracklist.
Origin of Symmetry sees Muse embracing despondency and turning it into something collective, something beautiful. Everything feels belatedly pubescent, like an overblown stamina test ”“ and no matter how Muse’s fans then may have grown up, it’s still spectacularly foreboding.
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