![]() ![]() As of 2018, The 2nd Law has sold over 2.3 million copies worldwide. "Panic Station" was later nominated for Best Rock Song at the 56th Annual Grammy Awards the following year. At the 55th Annual Grammy Awards, the album was nominated for Best Rock Album and "Madness" was nominated for Best Rock Song. For its sales figures, it was certified platinum in four countries, including the United Kingdom, and triple-platinum in France. The 2nd Law received positive reviews from critics and performed well commercially it was a top ten-charting album in 31 countries and a number one album in 13 countries. "Survival" had been chosen as the official song for the 2012 Summer Olympics, "Madness" became an international hit, most notably topping the Billboard Alternative Songs chart for a record-breaking 19 weeks, and "Supremacy" was performed live to begin the 2013 Brit Awards. The singles " Survival", " Madness", " Follow Me", " Supremacy", and " Panic Station" were released in promotion. The album's cover art features a map of the human brain's pathways, which was taken from the Human Connectome Project. Acts such as Queen, David Bowie, and Skrillex also served as key influences on the album. The album's sound incorporates art rock, progressive rock, and electronic music with Muse's traditional alternative rock style. ![]() Musically, the band chose to experiment significantly and create a sound that was distinct from their past records. Major lyrical themes of the album include societal collapse, totalitarianism, and the second law of thermodynamics, which the album's title references. The 2nd Law is a concept album about a deteriorating planet that its inhabitants can no longer live on. The 2nd Law was Muse's second album to be solely self-produced, following The Resistance (2009), and features a plethora of additional musicians that performed brass, strings, and choir vocals. ![]() Recording of the album took place in studios between London and Los Angeles County, beginning in October 2011 and ending in August 2012. Records and the band's own Helium-3 imprint. A terrifying classic.The 2nd Law is the sixth studio album by English rock band Muse, first released on 28 September 2012 through Warner Bros. Recorded as Bush and Blair (illegally) invaded Iraq, it was also the beginning of Matt Bellamy’s political awakening, his vague theories on life, the universe and Everything They’re Not Telling You finding focus amid a flurry of metaphors about kidnap, female orgasms, secret organisations controlling the Earth and fleeing the planet before an inevitable – indeed, welcome and long overdue – Armageddon. ‘Apocalypse Please’ remains the most artful and successful of Muse’s big album-opening stomparamas, ‘Butterflies And Hurricanes’ is still their best operatic epic and the initial rush of ‘Time Is Running Out’, ‘Sing For Absolution’ and ‘Stockholm Syndrome’ never gives way to a late-album lull, the quality never wavers right up to the magnificent ‘Ruled By Secrecy’. At the time ‘Absolution’ sounded immaculate, filler-free, the best rock album of the decade, and my opinion of it hasn’t changed since. At a preview listening at the Planetarium, its space rock wonders roared by accompanied by a dazzling tour of the Milky Way beamed onto the dome screen, a perfect audio-visual combination akin to listening to Slipknot’s ‘Iowa’ in an actual abattoir. Plus, if ‘Invincible’ had been the UK’s Olympic song, we’d have won every gold going.Īs the bloke who turned up on Take Me Out dressed as Riff Raff from The Rocky Horror Picture Show preparing to conduct the Royal Philharmonic Orchestra found to his cost, first impressions count, and my first impression of ‘Absolution’ was unbeatable. With ‘Supermassive Black Hole’ and ‘Starlight’ as its chart-bothering calling cards, ‘Black Holes…’ tackled energy depletion, political misdirection, war and, um, jousting Martians with a rigorous rock attack and one eye on the dancefloor. Muse’s most solid and focused pop collection, clocking in at 45 minutes including the gargantuan gallop into radiant ridiculousness that is ‘Knights Of Cydonia’. Classic Muse tropes of oppression, subversion and escape came together into a rounded narrative concept, which Muse indulged to thoroughly that they came out needed a bright neon antidote. The most cohesive of Muse’s recent output, ‘Drones’ came into its own on the tech-blitz tour, with ‘Mercy’ becoming a bona fide set-closing anthem, ‘Psycho’ a space rock pile-driver and ‘The Globalist’ an evocative epic worth flying a gigantic inflatable through the middle of. ![]()
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