glass-needles-and-futurisms

[glass-needles-and-futurisms]

life is not all sunshine and cupcakes fella

(x)

[glass-needles-and-futurisms]

📷 pol.ocho ig

[glass-needles-and-futurisms]

guys I picked up a absolution on vinyl and it's the most gorgeous thing I've ever seen like LOOK AT IT

this is so fucking gorgeous I love all the artwork so much, this is why vinyl is elite

[glass-needles-and-futurisms]

[glass-needles-and-futurisms]

musers that know a bit about the music industry... is this big news??? 👀👀

[glass-needles-and-futurisms]

👀

[glass-needles-and-futurisms]

Best "Emo" Disc 50 - Part 6 - Muse, Saves the Day, Finch, Taking Back Sunday, Something Corporate, Hundred Reasons [ROCKIN'ON (April 2007)]

『ORIGIN OF SYMMETRY』 MUSE 【June 2001】 The list of 50 “emo” discs selected this time was dominated 90% by American bands, with UK emo only making up a few selections. This is a natural ratio considering that the origins of emo lie in hardcore, and it is no exaggeration to say that UK emo bands are a kind of “branch” derived from the influence of American hardcore. Muse are exceptional in such a situation, and have established a unique, egocentric emotional rock that transcends even national differences. Muse's true strength is in the explosion of dramaturgy that challenges the limits of a three-piece band by making full use of classical, hard rock, and even progressive rock, and their unique sense of beauty and loudness has blossomed in this second album. Their sound is more about encouraging emotional deviance than emotionality, and the essence of Muse lies in the excess of Matthew Bellamy, who strums his guitar at full volume and then sits at a grand piano pounding away, making you wonder, "Why go that far……" It's also symbolic that they are the only band to have received the highest praise from both the indie-friendly NME and the loud-friendly Kerrang! magazines. (Shino Kokawa)

『STAY WHAT YOU ARE』 SAVES THE DAY 【July 2001】 This is the fourth album by the (then) five-piece band from New Jersey, Saves the Day. They had moved to Vagrant the year before this album was released, and this is their first album since the move. It was no coincidence that they chose this label, which had Get Up Kids and Alkaline Trio and was almost the headquarters of emo, and in fact, from this album Saves the Day began to place more emphasis on melody and harmony. The band members were all 21 years old at the time, and their four albums were a career achievement, but their sound resonates with confidence and hope in their own expression. The lyrics of the songs have also matured, and are no longer about love and romance, but rather words that have been born from a deep dive into one's inner self. And Chris's sweet voice as he sings them is another big part of the band's appeal. From the arrangements to the song development, there is a standard form here that could be called the royal road of emo. This album was their first to reach the top 100 on the Billboard charts. Even now, they are a leading force in the New Jersey scene. (Tomohiro Ogawa)

『WHAT IT IS TO BURN』 FINCH 【March 2002】 The strange name “screamo” was established largely due to the presence of this band, which was in the limelight at the same time as The Used. The contrast between stillness and movement, the explosive screams, and the emotional melodies arranged in opposition to each other. This band, which was also a big favorite of Drive-Thru Records owner Richard Reines, created a perfect prototype of screamo with their first album. The flawless form has not faded at all even when listening to it today. The sound structure heard on this album, including the mix by virtuoso Mark Trombino, had a huge influence on the bands that followed. Conversely, however, the fact that their first album was so perfect may have been a heavy burden for them. Their second album, “Say Hello to Sunshine”, was released in June 2005, with less screams, more popular melodies and heavier guitars, but it was met with total rejection by fans and the band disbanded. It was a very sad and sudden ending. (Takuya Furukawa)

『TELL ALL YOUR FRIENDS』 TAKING BACK SUNDAY 【March 2002】 Taking Back Sunday are aces of the New York & New Jersey scene. Although they face difficulties with each album, such as member changes, they make works that erase those anxieties and are steadily growing. So it's hard to choose just one, but the first album “You Are So Last Summer,” “Cute Without the ‘E’,” “Great Romances” and other songs that get everyone singing along at live shows are enough to make you imagine the tearjerkers. For example, in “You Are So…,” vocalist Adam screams, “The truth is you could slit my throat, and with my one last gasping breath, I'd apologize for bleeding on your shirt,” and a story that is sharper and crueler than a tearjerker unfolds here. The melody has an exceptionally strong hook, and the guitar follows it. What drew them out of the punk festival Warped Tour was their outstanding pop and Adam's chaos. Perhaps they are still too raw for the current pop scene. (Akemi Nakamura)

『LEAVING THROUGH THE WINDOW』 SOMETHING CORPORATE 【May 2002】 Andrew McMahon was only 19 when he made this album. Something Corporate started out as a band he put together to enter a high school band contest. Their debut EP, “Audioboxer”, was released worldwide through MCA and quickly climbed the college charts. Their song “iF yoU C Jordan” was in heavy rotation on radio stations around the country. The album was released in the midst of all this. At a time when the term “piano emo” was nowhere to be found, a sound like theirs was refreshing in itself, but most importantly, it was the debut of a talented melody-maker and songwriter by the name of Andrew McMahon. The first track, “I Want To Save You”, opens with ‘Standing on the edge of morning / Scent of sex and new found glory / Playing as she's pulling back her hair’. The song's lyricism is the result of the intersection of his imagination, sense of words, and the lyricism of the piano. This album was born at the intersection of the two. (Tomohiro Ogawa)

『IDEAS ABOVE OUR STATION』 HUNDRED REASONS 【June 2002】 Heavy drumming like a dinosaur's stride, guitar sounds that try to paint a bright tomorrow with a mix of hard and soft sounds, and screams that completely overturn the soft harmony of this world…… This first album, which includes masterpieces such as “If I Could” and “Silver,” was released in 2002, but Hundred Reasons had already had a presence as a representative of the loud and aggressive side of UK emo since they were selected as the Best New British Band by Kerrang! in 2000. Their sound, which is like a supersonic Dutch roll on the border between emo and hard rock, fueled by the energy of US post-hardcore groups such as At the Drive-In and Fugazi, rather than the UK scene, has a toughness that keeps weak naivety such as sadness or emotion at bay, and the provocative and edgy fighting mode of songs such as “What Thought Did” and “Drowning” is filled with the band's strong will to forcefully expand the boundaries of rock and emo. (Tomoki Takahashi)

Translator's Note: I will be honest, I wouldn't have put my time and effort down to scan and translate this whole article covering about 50 albums that best represented "emo" from the 1990s and 2000s, if I hadn't spotted that Muse was counted as "emo" and it was represented with their second album, Origin of Symmetry LMAO

At the same time, remembering Matt's red-dyed hair and his fashion style back then, I was like, yeah, that actually checks out. He would've fit in with the scene to some degree 🤣

Please do support me via my ko-fi! ☕

[glass-needles-and-futurisms]

via Dom Instagram

[glass-needles-and-futurisms]

tfw john kennedy is speaking @sunburnacoustic

[glass-needles-and-futurisms]

i saw a video about which bands Thom Yorke hated the most. as Muse was cited, I decided to do some researches, and found an article citing, with the exact same words, the same bands. in it Thom Yorke accused Muse to be a rip-off of his own band, and i'm sorry but .... what ? it isn't unknown to me that Muse used to be described as "Radioheadesque", which pissed them off (if i remember correctly), but their styles and genres are WIDELY different ! maybe Showbiz sounds a little bit, with faint similarities, like Radiohead but not even that much and that's it. i may not listen to Radiohead as much as i listen to Muse, but really they're not the same. at ALL.

idk if Yorke actually said this or if this is some bullshit written by a news website in lack of attention — i really hope he hasn't, because bro what does it even bring you to tear other bands down and accusing them of fake stuff.

anyway i love the songs of both bands and wish such stupid full of nonsense discourses didn't exist.

Definitely sounds as if, like most of the press, Thom Yorke has never listened to a Muse song lmao. I remember another interview where Thom was griping about YouTube and recommendation algorithms, and he was really annoyed that apparently if you were listening to a Radiohead song, the recommendations say “you might also like” Muse and he was bitching about that for a solid 5; ugh, as if we sound like them. Okay Thom, let’s get you to bed. Even the press has got bored of this tired narrative that Made at somehow a less talented Radiohead ripoff. He genuinely seems to believe that! This was in like 2018.

[glass-needles-and-futurisms]

[glass-needles-and-futurisms]

Matt: *slaps that wubwub board* this is a cry for help

[glass-needles-and-futurisms]

Always a pleasure @pinkpopfest 📸 @circusxhead

via Muse Instagram

[glass-needles-and-futurisms]

takes drag of my candy cig.. glorious @ shepherds bush my beloved :,) ♡

[glass-needles-and-futurisms]

simon saada posted these pics from hellfest 📸

[glass-needles-and-futurisms]

[glass-needles-and-futurisms]

Some things never change...

(thank you @bradychchch and @killedbythegroove, who has every Muse gif known to mankind <3)