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Black holes and revelations

The meaning of «black holes and revelations»

Black Holes and Revelations is the fourth studio album by English rock band Muse. It was released on 3 July 2006 through Muse's Helium-3 imprint and Warner Bros. Records. It was recorded over four months in New York and southern France, and saw the band take a more active role in production.

Black Holes and Revelations saw a change in style for Muse, with influences including Depeche Mode, Millionaire, Lightning Bolt, Sly and the Family Stone, and music from southern Italy.[4] Like their previous albums, it features political and dystopian undertones, with lyrics covering topics such as political corruption, alien invasion, revolution, and New World Order conspiracies, as well as more conventional love songs.

Black Holes and Revelations received positive reviews and appeared on many year-end lists. It received a Mercury Prize nomination and later appeared in the 2007 version of 1001 Albums You Must Hear Before You Die. The album entered the charts at number one in five countries, including the United Kingdom, and in the top 10 in several other countries. It was later certified triple platinum in the UK and platinum in the US. Singles "Supermassive Black Hole" and "Knights of Cydonia" were both UK top-10 hits, while "Starlight", "Map of the Problematique", and "Invincible" all charted within the top 25.

Muse's third album, Absolution (2003), brought them mainstream exposure in the United States.[5] Muse began writing and rehearsing for their next album at Studio Miraval, an old château in southern France.[6][4] Producer Rich Costey, who had produced Absolution, joined them two weeks later.[6]

Songwriter Matt Bellamy said the band wanted to be free from distractions so that they could "concentrate, spend time and be surrounded by different musical influences".[4] However, progress was slow and they had difficulty deciding which songs to work on.[4] More work was completed in New York City at Avatar Studios and Electric Lady Studios in New York, and at a studio in Italy.[6]

Bassist Chris Wolstenholme said writing and recording was more relaxed than previous albums, as the band had no deadline.[7] Costey wanted to capture Bellamy's "personality" as a guitarist, recording the sound of his fingers and plectrum on the strings.[6] It was also the first time Muse learned about studio technology, having previously left its use to engineers.[7]

With "Take a Bow", Muse wanted to blend classical, electronic and rock music. It opens with string arpeggios inspired by Philip Glass, backed by a Moog synthesizer.[6] The "Map of the Problematique" riff was written on keyboard; at Costey's encouragement, Bellamy recreated it on guitar by splitting the guitar into three signals, which were processed with pitch shifters and synthesisers.[6] "Assassin", influenced by the noise rock band Lightning Bolt, began as a long progressive rock song with a "huge" piano break before Muse trimmed it.[6]

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