Welcome to Gaia! ::

Sooooo, I'll post the Concept Album thingy here, too! xd

The Concept Behind ‘Absolution’ and ‘Black Holes And Revelations’

Concept albums. Confined to the 60s and 70s? I think not. Concept albums may be generally associated with drug induced Pink Floyd fans, however, the new wave of rock is here to dispel that myth. Two recent concept albums include Green Day’s American Idiot and My Chemical Romance’s Welcome To The Black Parade. And, although not as broadcast, Muse have released two albums, that, when played together, is a two-part story. Muse’s Absolution and Black Holes And Revelations, in my learned opinion, are concept albums.

The story behind Absolution, part one of this epic saga, can be told as follows:

After falling victim to showbiz, discovering the Origin of Symmetry in a drug-fuelled haze, and generally causing a big hullabaloo, our protagonist, who, for the purpose of this explanation, is named Matthew Bellamy, finds himself at the “end of the world”. While lesser musicians may beg for the apocalypse, Matt and his beautiful female companion, named Dominique Howard (Dominique, I mean Dominic, won this title over Chris for his easily trans-gendered name and feminine hair). The (evil) government is about to achieve total domination of the people, thus why everyone was begging for the apocalypse. Matt and Dom realise that their time is running out, and if they want to save the world, they must do it quickly. They wonder how it came to this stage, of their government demanding that they join the others in singing for absolution. Matt and Dom refuse to be forced in (unintentional pun(s)) to obeying. As the government is angered, Matt and Dom are kidnapped by the wise Christopher Wolstenholme. Chris is a seasoned anti-government campaigner, however, considering he barely talks, he does his work completely unnoticed. Considering Chris is on their side, Matt and Dom find themselves coming down with a case of Stockholm Syndrome, and become fast friends with Chris. Although, at the same time, they remember that the government is still an evil, totalitarian force, and they can’t forget that they have to fight to overcome this evil government. As they plan etc., Matt begins to, shall we say, crack. He feels that his world is crumbling, and that he’s falling away. He also realises that he’s in love with Dom (remember, he’s a she in this explanation/concept album). After this, he goes in to complete hysteria, the poor dear. After he purges his emotions in this hysterical manner, he blacks out, musing (another pun, I’m sorry) over his life and what everything means. He wakes up, much to the relief of Dom and Chris. Especially Dom. Chris gives a rousing speech (wow, Chris is talking) full of analogies, in particular, that they are butterflies in a world of hurricanes, and they must change everything they are, and they have to be their best, as their time is now (even though Chris says this bit, Matt still sings it on the album, because he’s the singer). Also, Chris riles Matt up by showing him some documentation that states, in the small print, that this whole “end of the world” thing (think back to the start of the album) was a government hoax (no wai!). So, naturally, Matt’s pissed off. So pissed off, that right that minute, he declares that he’s going to go kick evil government arse. Dom is, of course, worried for Matt’s safety. Matt tells Dom that no matter what happens, he’ll love her hopelessly, endlessly, and will never give her up or let her go. Awwww. So Matt goes off, but unfortunately gets his own arse kicked. Feeling that he is about to die, he declares that he can see the end, and because he has no faith, being an atheist, it scares the hell out of him. He hears eerie whispers, because by this time he’s been carted off to a government building, a la 1984. Indeed, continuing the Orwellian trend, the government tells him that he must obey them, or they’ll kill Chris and Dom slowly and painfully. Matt has no choice but to obey, thus becoming ruled by secrecy.

Part two of this saga is told in the album Black Holes And Revelations, and can be read as follows:

It is four years later, and really is the end of the world. Our protagonist, Matthew Bellamy, has been freed from his prison, when the evil government fled the planet (later, they crash in to the sun. How about that for karma, hey?). Being imprisoned for four years, and suddenly being freed has, of course, left Matt feeling lost and disorientated. As the world is about to end, everyone is running around screaming. Matt, pissed off at the evil government again, mutters for their so called leaders to take a bow, and look at the mess they left. Resigning himself to his fate, Matt lies down on the ground, preparing to die, when he hears the voices of Christopher Wolstenholme and Dominique Howard, voices he hadn’t heard for four long years. He quietly approaches them, to see them furiously digging a hole. After much research, Chris and Dom had finally found the location of the secret government prison, and with a bunch of tools, were digging a hole to free Matt from his captivity (assuming he was still alive, but as Dom said “I know Matt’s alive. I feel it” (you may notice that in this explanation, there is dialogue, whereas in the Absolution one, there wasn’t. It’s a change. Get used to it.)).
“What are you doing?” Matt asks.
“We’re trying to free our friend before the world implodes”, Dom replies. They turn around to look at the speaker, recognising the voice, and they realise that Matt is standing right there. They have a brief, happy reunion, before running to Chris’s spaceship, which he had been building for when the world ended, which was now. They leave Earth, and fly along in the starlight, where Matt professes never to let Dom go again. Chris points out that the world is not imploding, rather, the ice-caps are melting, the world is flooding, and it’s all being sucked in to a supermassive black hole. Cue groovy dance music. This celebration doesn’t last long, however, as for some strange reason, Chris and Dom get sucked in to the same supermassive black hole. Matt groans in anguish. “When will this loneliness be over?” he cries, and consulting a computerized ‘map of the problematique’ (I don’t know what it is either), realises that he should enter the supermassive black hole to find and rescue Chris and Dom. Straight away, he crash-lands on the planet Cydonia. Near by, he sees an enclosure of sorts, with barbed wire fencing and a sign saying ‘Welcome to Scotland Yard Concentration Camp’. Matt wanders over, and as he does, a group of Scotsmen approach the fencing. “Oh my…” they mutter. “It’s Matt Bellamy, wow. You’re the one they said would save us.”
“Franz Ferdinand, Belle & Sebastian and The Fratellis?” Matt asks.
“That’s us,” they reply.
“Why are you all in here?” Matt inquires.
“The evil government of Cydonia put us in here. They are called…Radiohead. They are led by the most evil man to have ever been born – Thom Yorke.” Alex Kapranos informs Matt. Matt gasps. Thom Yorke, of course, is Matt’s sworn enemy.
“There’s no justice in the world…and there never was” they all moan in unison.
“Help us!” The Fratellis plead.
“There’s nobody like Thom in the universe…” mutters Matt, before stating that if they worked together, they could destroy Radiohead, because together, “we’re invincible”. However, considering they’re all locked in the concentration camp for Scottish bands, Matt has to do the work himself. Matt heads for the capital of Cydonia, named, obviously, Cydonia. He passes the skeletons of Liam and Noel Gallagher (with a sign saying ‘Dead For Insulting Our Leaders’), concentration camps for English bands, Irish bands, Welsh bands (that was fairly small), Australian/New Zealand bands…and that was about it, considering the others were all dead/living on other planets. Matt finally arrives in the town, which looks like the set up of a western movie (bear with me, there’s a huge interpretive gap between songs here and I’m seriously making some things up/drawing interpretations from video clips), and is immediately caught by Bloc Party, who are one of the few safe bands, because their guitarist has hair like Jonny Greenwood’s. Jonny Greenwood, is, to use an odd analogy, the Goebbels to Thom Yorke’s Hitler. Except Jonny uses guitar riffs, not speeches, to get his point across. Weird. Anyway, Matt arrives in the town to be accosted by Bloc Party, and taken to Radioheadquarters.
“So, Matthew Bellamy, we meet again. For the last time!” Thom says, putting on a stupid accent.
“Thom, that’s clichéd. I thought you were anti-cliché. I thought you were original” Matt replies, his voice dripping with sarcasm.
“Why are you here, Matt? Are you an…assassin? (haha, that song just came up on iTunes as I typed that. Just thought I’d throw that in).
“The time has come for you, Thom. You can’t just go throwing bands in concentration camps and ruling a planet with your depressing ways. You can’t destroy people for playing happy, upbeat songs and maybe using crazy drumming. I’m going to destroy your demonocracy.”
“Oh, you are an assassin, are you?” The rest of Radiohead laugh. Thom even…smiles (OMGWTF).
“Your destruction is long overdue, Radiohead” (yes, Overdue just came up on iTunes too). “It’s time I teach you a lesson.” (omg, cliché)
“You and whose army?” (these puns are killing me). Matt remains silent.
“Just as I thought. So you want to end our demonocracy, our exo-politics, but there’s nothing you can do about it. Get out!”
Matt is ungracefully booted out of Radioheadquarters, and booted out of town by Bloc Party.
“I will be back!” Matt cries. “I will come and destroy this city of delusion!” Unfortunately, this angers Thom even more, and he orders Bloc Party to take Matt to this special concentration camp, seemingly designed just for him. Matt discovers a piano, a horse (a white stallion, to be exact) and a history library (this is important later on).
“How did it come to this?” Matt wails, playing the piano to alleviate his stress and pain. However, soon after, Matt remembers that he is invincible. Using this as some kind of magic, a kind of hoodoo, if you will, he takes a hologram of the complete history of the universe (for no real reason, simply because he thought it was cool), mounts the white stallion, breaks down the barbed wire fencing and rides back to the township of Cydonia, stopping, of course, at the concentration camps to free the bands. Matt points out that through history, God seems to have fallen asleep on the job (being an atheist, as discussed in Absolution, he’s allowed to insult God and take his name in vain…apparently). Matt rides in to the town on his white stallion, followed by the mob of freed bands. Matt climbs up on to a platform outside Radioheadquarters, grabs a megaphone from somewhere, and starts yelling “NO ONE’S GOING TO TAKE ME ALIVE, THE TIME HAS COME TO MAKE THINGS RIGHT, YOU AND I MUST FIGHT FOR OUR RIGHTS, YOU AND I MUST FIGHT TO SURVIVE…” Dom and Chris, hearing this, come out of where they were staying (dressed like they were in a western movie, as Thom decreed for no discernable reason apart from his own perverse enjoyment) and see Matt in all his glory, surrounded by a mob of bands, protesting the evil Radiohead government. Dom and Chris climb on to the platform with Matt and start to yell with him. Thom comes out of the building, flanked by the rest of Radiohead.
“Give up, Thom!” Matt yells.
“All I ever wanted to do was rule the world with my depressing musical styles…I won’t let you take it away from me!”
“ORLY?” everyone screeches in reply.
“I didn’t think it would have to come to this…” Matt says, pulling out his shiny metal guitar. He begins to play highly complex, awesome guitar riffs.
“This isn’t right! You can’t do that! That’s not depressing enough!” Jonny shouts, putting his hands over his ears. Matt simply grins, and positions his guitar in to just the right spot to shine in to Thom’s one good eye.
“AAAAARGH!!!” Thom screams, beginning to cry. Jonny picks him up and takes him in to Radioheadquarters. The other three members of Radiohead hold up a white flag, and retreat.
“Cydonia is ours!” Matt proclaims. Everyone cheers.
“Will you be our new leader, Matt?” one of the Arctic Monkeys asks.
“Well, I guess so. I’m going to need the help of these two” gesturing at Chris and Dom “to make sure I don’t turn out like our good friend Thom.”
“As long as you don’t write depressing as s**t music and don’t lock us in concentration camps, you’ll be great” Lily Allen pipes up. Everyone laughs.
And so, Matt, Chris and Dom become the Knights Of Cydonia. And everyone lives in happiness, under the benevolent leadership of Muse.

And that, ladies and gentlemen, is the explanation, in narrative, of the concept albums Absolution and Black Holes And Revelations, by Muse. Please note, I do not hate Radiohead. They are actually one of my favourite bands. They were simply the most obvious target. It’s figurative for the ‘Muse are Radiohead rip-offs’ debate.

I think anything would make this section better.

I just posted this on my dA page, lol. I'm no artist, but I can write crap =).
Next, my parody songs (don't worry, Muse haven't been targeted...yet.)

I remember reading that. Man it was awesome.

Prequel all the way! heart


There's something about computers, I just can't read things probably any longer than this on them. If you posted your novels Skye, I'd like, end up printing them off xp

That seriously amused me.
Bravo.

OMG, that is the funniest thing I have ever read. Seriously. <3<3<3

am i crazy or could muse pull off covering a queen song???