Muse Review: Origin of Symmetry

Today I will be discussing Muse’s second album, often disputed by Muse fans as the greatest of Muse’s five sets (although this could easily be said for any of three of these albums).

First off, when viewing Origin of Symmetry, there are many things to consider. Like all of Muse’s albums, Origin is open to vast interpretations, from song title meanings to lyrical content. Origin of Symmetry can very easily be associated with Italian Opera, perhaps of a darker and more morbid content than usual; it can, however, also be easily associated with straight rock. It is in this fashion that Muse puts forth the first question posed of this album; does the title, Origin of Symmetry, in conjunction with this dual-style, promote the idea that, at heart, all music is essentially just that? Music? Perhaps. Or, perhaps its just as Matt himself said, regarding the many possibilities posed for the album’s cover art. [not exact] “the idea was to sort of explore what makes each of us the same… that thing that each of us shares in common, that sort of makes us human.” This is open to interpretation, just as anything else is.

As a whole, the album conveys several themes, as addressed by Bellamy himself in vague and random interview spurts, and as interpreted by myself and other such fans. Origin of Symmetry seems to focus on one driving point: the rise of computerized technology and it’s role in society, and how that effects the world. According to Bellamy, such a rise of technology is something to be detested and feared. Songs supporting this theme are New Born, Citizen Erased, Bliss, Screenager, and, depending on how you view them, Plug in Baby and Darkshines.

Another theme found in this album, somewhat connected to the previous theme, is the idea of the loss of innocence in world (primarily European and American) culture. Included in this theme is the idea that people are losing their identities, their intelliegence, and their ability to think for themselves or tell truth from lies; a common Muse motif. Several songs support this theme as well, and of course, most of them are the same as for the first. New Born, Screenager, Citizen Erased, Micro Cuts, and Megalomania. Futurism, a bonus track only released in Japan, comments more heavily on the state of culture. “Ignorance pulls, apostacy and apathy still rules/yeah you know it’s cool”.