It's that one pic telling the whole Glasto story. Dom's perspective. Chris' lovely ass. Matt's pink trousers.
Like most of you (I guess) I tried to catch the BBC2 livestream via internet - and failed because I haven't got an UK IP adress. But thanks to the great twitterific Musers I got access via some illegal (ehem) software so I watched the Glasto performance in quite a good quality.
Zane introducing the band in his fanboy way. Uprising. The special stage design. The Glasto singalong audience going mad. The Edge helping out on Muse's U2 tribute. Lovely. But - something was missing. Maybe it's a comparison problem and its kind of unfair to see that gig with a view on the 2004 one, but - I don't know. It's hard to admit, but something was missing. The euphoria. The madness. The spirit. Maybe. Anyways, it was fun watching it, with Esther and the guru on the phone while they celebrated their own Glasto in the Roddy fields.
My point of view
That week we booked our hotel in Tinmäff - it's exactly the one I mentioned in my Muse FF. A twin room with seaview, next to The Den. We just came to the conclusion that even if we wouldn't talk for the whole trip AND finally agreed in silence that we gave away our tickets to some strangers, it still would be the most awesome trip we ever done (and we did a lot of those, believe me - nighttrain to florence, just to mention one).
Actually we had the plan to stop this Muse thing until end of august. But it's just not working!
Did you know that 2003 was the year of the bible? Yeah, right: neither did we. But judging from lyrics such as “It’s time for something biblical”, Bellamy might have heard about it. Us other ignorants were thinking --- erm, yeah, right, Matty. Thoughts of a dying atheist, Time is running out, Apocalypse Please to begin with –promised a rather uplifting record – not. Generally speaking, Absolution was Francis Ford Coppola’s Apocalypse Now revisited. Released in September, it followed one of the hottest summers in history. The heat wave over Europe could have been orchestrated by a sound designed to melt existences. The year in music moved between the feverish Hey Ya, the most infamous base-line ever produced by a guitar (aka Seven Nation Army) – and someone else’s falsetto squeaking I believe in a thing called love (does anyone remember The Darkness?). Johnny Cash died in 2003, surviving his wife June by only a few months. The third Gulf War in Iraq began. Marion and I had graduated from school the year before and were now attending university. Muse were not exactly on our schedule. Our time wasn’t running out, we were yet again victims of our own utterly bad timing. Apart from Stockholm Syndrome, an instant skull-cracker, it needed years until this record became visible on our musical horizon. We would love and we would hate – all to no avail. Absolution came and went unnoticed - for no reason whatsoever. Some all time favourites are assembled on this one: Butterflies and Hurricanes, an anthem, with lyrics for eternity…‘best, you’ve got to be the best, you’ve got to change the world and use this chance to be heard’. Hysteria, an old friend, rediscovered while playing ‘Rock Band’…I want it now, give me your heart and your soul…guess he demanded it all, didn’t he? [By the way, has anyone ever noticed the parallels between Bellamy’s end of the world scenarios and the nuclear case of emergency depicted in The Clash’s London Calling? Just saying…] …and of course, Falling away with you, which tiptoes softly, like a whisper. Somewhere inside something explodes. Fireworks. A feeling from deep within that conquers you, a feeling that cannot be explained, calculated or rationalized – not even uttered. It just exists, for no reason. So be it. Falling away with you? Anytime, Love!
Sorry for the ignorance, lads. We were searching, you were on a mission – but it still needed some time until we would combine in a Neutron Star Collision.
...just graduated!
Pop-cultural happenings Madonna kisses Christina Aguilera and Britney Spears at the VMAs The Stooges reunite – so do Backstreet Boys Peter Jackson concludes his Lord of the Rings trilogy with The Return of the King
Soundtrack (indie-approved version) Speakerboxx/The Love Below – Outkast St. Anger – Metallica De-Loused in the Comatorium – The Mars Volta Elephant – The White Stripes Maybe Memories – The Used A Mark, A Mission, A Brand, A Scar – Dashboard Confessional Youth and Young Manhood – Kings of Leon Thirteenth Step – A Perfect Circle Get Born – Jet Sleeping with Ghosts – Placebo The War on Errorism – NOFX Scandinavian Leather – Turbonegro
…and a few songs singing along to was only allowed in secret I’m with you – Avril Lavigne Beautiful – Christina Aguilera (c’mon, even The Lemonheads covered it) Dancing on a Friday Night – The Darkness Thank You - Dido
Down memory lane, the story of our three Devon lads had only just begun - and so had ours. One year earlier Marion renounced to go on our new school’s skiing trip in order to see a Bush concert. Guess who supported them on that same tour and that specific concert… Infected by the festival fever, in 2001 we saw the likes of Foo Fighters (Dave Grohl is clearly the best person in the world), Faithless, Tool, Iggy Pop, Queens of the Stone Age, The Hives, Green Day, The Prodigy, Stone Temple Pilots and The Ataris (…not!).
Looking back, I realize how much this particular year has influenced me. This was where it all started. Things would never be the same afterwards. Our generation’s nemesis was September 11th. Everyone remembers where he was, and with whom, when it happened. This year was characterised by so many spectacular things – both unbelievably positive and utterly dreadful. Musically, 2001 was the year my taste was conditioned and shaped lastingly - personally too. In my memories this is the year of an endless summer - and of falling in and out of love. With Origin of Symmetry my personal story with Muse began. From the lullaby-ish opener New Born (a title well chosen, for it describes the feeling this then young listener had, once the track was over) to the spherical outro of Megalomania: it. was. un-be-lievable. I still vote for Plug in Baby as the song designed to shape a decade, maybe a young century even. Feeling Good is one of the unlikeliest cover versions ever – and brilliantly so. Fair enough, lads! Bliss and Hyper Music: enigmatic escalation. Whenever I listen to Bliss I always wish I could one day become this person Matt is singing about: someone whose soul can’t hate anything. I reckon this to be the state of inner happiness. Showbiz only hinted what Origin of Symmetry manifested: the creation of something so different, no other band would ever achieve to sound like it. Something so different it didn’t give a flying fuck about any kind of trend. There were walls to be torn down, and this band was ready to do it, brick by brick. There were boundaries to break and lines to be crossed. There was a piano to be played. And there was a guitar-god in the making, who played the riffs of several lifetimes at the beginning of one song. Things would never sound the same anymore. This record might not be their best. It might not be the one with the greatest impact, success, or popularity – but it was the one I related to in the first place, finally being ready at the right time. It simply marked my point of entrance into the universe according to Matt Bellamy.
Soundtrack of our lives:
Island in the sun – Weezer Schism – Tool Last Nite – The Strokes Toxicity – System of a Down (Süssem!) Wish you were here – Incubus The lost art of keeping a secret – Queens of the Stone Age Tribute – Tenacious D Analog Boy – RX Bandits Hands Down – Dashboard Confessional Fell in love with a girl – The White Stripes
I just came across the huge artivel in The Times newspaper and it made me seriously sad for some reasons. I'd like to share it here. I don't want to say that but I have the feeling that this gonna be Muse' last days...
Published in The Times on June 20th 2010
How three geeky lads from Devon took on the pop world - and won
Lounging by the pool of a Sunset Strip hotel is a milksop, skinny-malink Brit tourist in bad shorts. His rodenty face sniffs the Los Angeles air, pondering food. It’s lunchtime, and he’s not long up. His spriggy hair, styled by hangover and pillow, wafts in the breeze. A fashion-backwards T-shirt hangs off his meagre shoulders. 5ft 7in in his terry-towelling socks and invisible if he turns sideways, this pasty Englishman won’t be going near the water lest one of the sunbathing LA hunks sits on him.
Meet Matt Bellamy, anti-rock star. Singer and songwriter, pianist and guitarist, fond of playing the latter behind his head. Sci-fi enthusiast, conspiracy theorist. A 32-year-old former painter and decorator (“It is,” he confirms, “all about the preparation”) so concerned by the threat of impending planet-wide doom that he’s stockpiled a two-year supply of freeze-dried emergency rations. He has it stored in the cellars of his villa in Lake Como in Italy. George Clooney is a neighbour.
His band, Muse, are the geeks who have inherited, if not the Earth, then at least the hearts, minds and concert-ticket money of the world’s youth. And, increasingly, the not so youthful. This month, the trio from small-town Devon (Teignmouth, pop: 14,413) also lay claim to a few hundred acres of prime rock-festival real estate: they headline the Pyramid Stage on the pivotal Saturday night at Glastonbury. It’s an auspicious moment for old schoolfriends Bellamy, drummer Dom Howard, 32, and bass player Chris Wolstenholme, 31. How will Muse, known for their concert spectaculars, top their normal shows for this special occasion? “We’re thinking we’ll get an orchestra,” says Bellamy.
It’s hard to imagine this stick-thin dweeb commanding the attention of 100,000 festival-goers. But put him on a stage – ideally backed by the lasers, towers, bells, whistles and occasional acrobats that have helped Muse become one of the greatest live bands today – and Bellamy gains in stature. They say television adds 10lb to those who appear in front of the cameras. Muse’s arena and stadium shows add a good 2ft, and a grandstanding aura, to their frontman. And now that Bono’s injured back has resulted in U2 pulling out of their Friday headline slot, the leader of the pomp-rock threesome – widely regarded as the biggest British band on the planet in 2010 – is the biggest rock’n’roller at this summer’s biggest festival.
Over the past year Muse have shot to the top of rock’s premier league. The Resistance, their fifth album, has sold 2.6 million copies, propelled by its lead single Uprising. They have recorded a song for the upcoming third Twilight film, making a hat-trick of soundtrack appearances in the vampire franchise. In 2007 they were the first band to perform at the new Wembley Stadium. They sold it out – twice. Muse played to 150,000 fans – and to some trapeze artists in balloons that they had anchored above the stage. In Muse’s view, if a job’s worth doing, it’s worth doing with giddy, over-the-top enthusiasm.
It is, in a way, the same with Bellamy and his attempts to act like a rock star offstage. Even when he dresses in a manner he imagines befits a millionaire pop idol (which he is to Muse’s hugely passionate fanbase), he gets it a bit wrong. He and his bandmates went out to an LA bar the other night and “ended up meeting” Rod Stewart. By unhappy coincidence Bellamy was wearing exactly the same outfit as the 65-year-old: pinstriped trousers, a waistcoat and a grey suit jacket.
Still, that sounds like an improvement on the trousers he wears during the week I spend with Muse in LA, at the Coachella Festival and then Mexico City: colour-flecked slacks seemingly purchased at C&A sometime in the early Eighties. And definitely an improvement on the clothes he once had to wear to the Q Awards after locking himself out of his house. “A floral shirt, a pair of red Adidas sweatpants and a weird silver hat. My summer civvies,” he recalls of the garb he wore to collect a trophy from the music magazine. “It gave the game away, actually. I’m not in a rock band at all. I’m just a pretty lame kid in funny clothes.”
If you find Radiohead too cool, Coldplay too soppy and U2 a bit past it, then Muse are the stadium band for you. They are Queen meets Abba, flamboyantly cod-operatic and absurdly melodic, and so unfashionable that they are, after years of outsider status, strangely fashionable. “Tom Waits and opera music – two of my favourite live environments, where the set design is just really theatrical and interesting,” offers Bellamy, a man who performs wearing flashing plastic children’s sunglasses. His other motivation for spending a fortune on stage presentation: “Not wanting to do something the same as everyone else.”
After Glastonbury, Muse are doing another world tour of stadiums. “We are making a giant pyramid with a video eyeball on top, and we’re playing inside it.” Bellamy will also be wearing a suit on which films can be played. The singer will be part guitar hero, part television. He’ll be the first performer ever to get his hands on such a suit. “Lady Gaga wants one but we’ve beaten her,” he confides proudly. Anything else? “A UFO is going to appear and give birth to an alien, over the audience’s head. I’m not joking.”
Muse have headlined Glastonbury before, in 2004. But even Wolstenholme admits they weren’t sure they deserved the slot. “We didn’t know if we were ready for it. And the press were going, ‘What’s this all about? Who do they think they are?’” There’s another shadow over Muse’s last Glastonbury appearance: shortly after watching the band’s set on the Pyramid Stage, Howard’s father collapsed and died from a heart attack.
“It was the best and worst day of my life in one go,” the drummer says quietly. “It’s a bit weird for me going back, really. People say, ‘You’re doing Glastonbury. It’s gonna be great, isn’t it?’ And I’m like, ‘Well, I dunno. It might be f****** s*** and I might not enjoy it.’ ” Wolstenholme remembers: “It was an extreme high and an extreme low. It’s gonna be strange going back, but maybe we need to be able to associate it with a happy memory. At the time it was probably the best gig we’d done. And unfortunately it’s not remembered for that.”
Glastonbury, then, will be a challenge on many levels. Howard’s mother and sister are coming this year. “It’ll be an emotional time for the family, for sure. But, you know, music’s a great thing to do. It can provide a great deal of positivity, playing and listening to it. That’s the only reason I’m going back: to play. I don’t think I’d go back just to hang about. That’d just be a bit strange. These guys are talking about hanging around for the weekend. But I don’t think I can really do that. But playing to a load of fans is gonna be the thing that makes me go there and get through it.”
Muse did not have a conventional route to success. While other bands rocketed up the middle of the rock road, Muse crawled up via the margins, doing their own thing. Failing to get noticed by the mainstream record industry, they turned to a Cornish recording studio to fund their first EPs. When they were finally signed, it was by a small record label.
In hip music circles, they were derided as over-earnest West Country bumpkins making daft songs with titles like Space Dementia and Apocalypse Please. They were pale copyists of Thom Yorke and co. They were prog-rock spods and had the fruity organ solos to prove it. If you liked Muse you also played World of Warcraft and were possibly bullied. If you liked Muse you were not cool. Bellamy, Howard and Wolstenholme knew this. They were not bothered. In fact they were almost proud of being unfashionable and being able to walk down the streets largely unrecognised. But still… why were Muse so unhip?
“Our music was just too weird,” says Howard with a shrug. “A lot of bands come fully formed: great first album, good songs, look cool, right attitude – they’ve got the whole thing. Whereas we were kids – from Devon! – who didn’t know any better. We were just learning step by step the whole time. We weren’t that Cool New Band. So we’ve always been on the fringes. It’s still like that.” As well as relishing their contrary-Mary position, Muse also embrace their occasional naffness. Ask Bellamy if summer 2010 feels like a golden moment in the life of this proudly off-message rock band and he replies: “Well, it’s always been sort of… beige.”
The names of the school bands that the three members of Muse separately played in – Gothic Plague, Carnage Mayhem, Fixed Penalty – did not suggest future greatness. But in 1994 Bellamy, Howard and Wolstenholme came together as a trio. They were Rocket Baby Dolls and tomorrow belonged to them. Except it didn’t. Rocket Baby Dolls quickly, sensibly, changed their name to Muse. The trio decided to forgo university places in favour of staying in Teignmouth and building on their strong local following. “Then all our friends f***ed off to uni and we had no fans,” remembers Howard. “We had to start from scratch. Doing as many gigs as possible in the local area. We did that for five years.”
They had to work hard. Bellamy points out: “We all came from nothing. People don’t think that when they look at us. They probably think we’re university boys or well-to-do middle-class guys. But all our parents have northern England working-class backgrounds.” Bellamy’s mum and dad divorced when he was “12 or 13”, and he has a brother in Leeds and a sister in Sheffield. “I know that our backgrounds are a bit more hardy than people would probably imagine when they look at us,” he continues, “especially when they see us on stage and the way we dress and all the b******s we talk about. But we have the kind of background that means we stick through rough times more than other people would.”
Muse forged a reputation as a hard-gigging outfit early on. Bellamy gave up his post-school career as a painter and decorator and abandoned his other pipe dream of flying paramotors, the jetpack-like motorised gliders with which he planned to become an “extreme cameraman”, filming concerts and sporting events. Instead, the band was everything. And still is. Muse are fiercely protective of their brand. When Céline Dion called her Las Vegas show Muse, the rock band sued her and won.
For Wolstenholme, this all-consuming lifestyle would take its toll. Partly this was due to his wife becoming pregnant with their first child just as Muse signed a record deal at the end of 1998. Because they weren’t the latest cool band from Manchester or London and therefore couldn’t rely on favourable press or radio coverage, “Our management and our record company just had us doing everything. You have no say over what you wanna do. And they don’t give a f*** about time off, or about family. All they give a f*** about is making as much money as possible.”
To compound matters, Wolstenholme became “a raging alcoholic”. He reveals this to me, unbidden and unprompted, at the end of our first interview, in the band’s opulent hotel in Desert Springs, a few miles from the Coachella Festival site. “I was worse on tour in the early days. But at home it got to a point where I realised I didn’t have to stay sober ’cause I didn’t have a gig to do. So it was just a licence to drink all the time. I was waking up in the morning and filling up a pint glass half full of whatever spirit I had in the house and then topping it up with squash so no one knew what I was drinking,” he confesses.
He’d follow this “breakfast” with a chaser of “10 to 15 pints during the day, even when I was at home. Then in the evening I’d go on to wine: two bottles of wine. Then I’d normally finish the day as I started it: take the pint glass up to bed, drink half, so there was always something by the bedside for me in the morning, ha ha,” he laughs, nervously.
Wolstenholme repeats this account of the depths of his addiction, almost word for word, when we speak again backstage at the Foro Sol stadium in Mexico City. His eagerness to tell all is a mark of the bluff amiability of the sturdy, tattooed bass player (he’s a good foot taller than the compact Bellamy and Howard), and of how Muse barely do any interviews these days; they don’t need to, and their heavyweight US management company, Q Prime (also shepherds to Red Hot Chili Peppers and Metallica), forms a ridiculously protective phalanx around them. After eight months on tour he’s perhaps starved of outside conversation. And, I suspect, Wolstenholme’s chattiness is also an aspect of the painful rehab/therapy process that he initiated midway through the making of The Resistance.
“I was pretty bad. But I had a realisation one day: my dad died when he was 40 from alcoholism. And I was well on the way to that. I was in such a bad way it’s questionable whether I’d be alive now.” Wolstenholme’s therapist told him that his drinking “was my way of dealing with any kind of negativity whatsoever in my life”. As he detoxed, “I had a good week of no sleeping, shaking, feeling like I was gonna pass out. It was pretty horrible. But luckily I had five months before going on tour to get all that out of my system.
“I felt like I was really getting somewhere with it,” Wolstenholme continues, clutching an iced coffee (“My new drug”), his fingernails bitten to the quick. “Then we started touring and it was like giving up all over again. I had to have the minibar in my hotel room cleared. I got my own tour bus so I didn’t have to be around [the band]. I didn’t want to be one of those killjoys. It’s my problem; it’s not fair to drag everybody else into it.” He says he still finds it difficult. “There is a lot of partying on tour. You feel a bit left out sometimes. You can’t join in. But you have to think about the more important things in life, like your family, your kids [a fifth child is on the way].”
Certainly, Bellamy hasn’t slowed down on the party front. When I talk to him in Mexico City he has a raging hangover. After three hours’ sleep, he is hiding behind expensive sunglasses, and despite seven weeks on tour in America and three days in Mexico, he is paler than normal. Last night he entertained 55,000 screaming Mexicans with a thumpingly epic baroque’n’roll performance. He wound down by drinking with the road crew until 8am.
During our second interview, at Coachella, Bellamy had talked about the books that had “seeped” into the writing of The Resistance, such as Cormac McCarthy’s Blood Meridian, which he says “gets right into the core of the dark side of warfare”. Accordingly, there’s “a certain fighting spirit, I suppose, in songs like Uprising. I’ve had a subtle interest in warfare through my family.” When I ask him what he means by that, he explains that his uncle and father were in the Royal Navy, and that “their other brother was very much a military guy. He was shot by the IRA in Northern Ireland.”
David Bellamy, reportedly a warrant officer in the Duke of Wellington’s Regiment, was killed outside an RUC station in West Belfast in October 1979. “It was quite a big thing at the time,” says his nephew, who was then 16 months old and hasn’t discussed it in print before. “From what I know, he was working undercover, and afterwards it was revealed he was in the SAS. It was very suspicious. He was machine-gunned 80 times. It was a statement.”
Bellamy has done his own investigations into the shooting. “I know people inside who have given me certain information.” Contrary to official reports, he doesn’t think the IRA was responsible. “It’s definitely something that had an influence on me. That’s what got me interested in things like false-flag operations [covert operations designed to appear as though they are carried out by others]. What goes on would shock most people. That Jack Nicholson quote in A Few Good Men – ‘You can’t handle the truth’ – it is true. The military are capable of taking out their own people if they want to. You can’t help but wonder.”
After Mexico, the Muse touring party – which numbers 80, but for the next stadium leg rises to 165 and has at its core a “family” of longstanding associates from back home in Devon – are scattering for a couple of weeks’ break. They then regroup for the festival and stadium leg of the 16-month-long Resistance world tour. Due to the volcanic ash cloud, Wolstenholme may have to rejoin his wife and children in Devon via a flight to Madrid and a hitched ride on a coach commandeered by tennis player Greg Rusedski. Howard lives in the South of France, but may be heading to Los Angeles. Bellamy has also been planning an LA sojourn. He’s been viewing real estate, including Christina Aguilera’s old mansion.
“I’m thinking of doing a six-month blow-out in LA. It seems like the right time to lose the plot and embarrass myself,” Bellamy says. “I’ll rent out some ridiculous Entourage-style house and lose it. Then come back to London and write a brilliant album.” But, as of this week, his holiday is on hold – “New York has come up.” There he intends to “hang out and relax and investigate new possibilities”.
Is this an unsubtle reference to Hollywood actress Kate Hudson? On the Sunday night at Coachella I sat behind Bellamy and saw him and a mystery blonde exchange greetings with Jay-Z and Beyoncé, then get cosy as they watched Gorillaz close the festival. Talking to me afterwards, he offered up the information that this was Hudson, with a grin. So, him, Kate, New York? “Ha ha!” he replies, trying – and failing – to keep it quiet. “Yeah, she’s sent her plane to come and pick me up,” he adds, jokingly. “She’s ordered me, ‘Come here. Come hither,’ ” he continues, I think not-jokingly.
He and Hudson first met “years ago” in Australia, “and we were both in relationships”. The actress was with her now ex-husband, Chris Robinson, singer with the Black Crowes; Bellamy was with his now ex-girlfriend, a psychologist he saw for seven years until they split last September. “But this time we met,” Bellamy beams, “and we weren’t.” I suspect he’s winking under those shades.
some days ago, esther and i tried to figure out at what point our muse escalation actually started. well, we've been into the band's music for many years, but we've never been as obsessed with the band as we are now. obviously. it was pretty hard to point that out, because we had the feeling that the state we are now in already last for a while. but after an exhaustive research we found out that it just started three months ago. so that's the record of our muse escalation so far:
mid february 2010: our friend naischel aka the guru started to post her 30 seconds to mars fanfiction which i read regularly.
early march 2010: esther and naischel came to hamburg on esther's b-day and to see 30stm playing in the sportshalle. some days of real hamby craziness.
late march 2010: i was bored and started to check out other fanfiction storys on fanfiktion.de. i found out that there were even stories about slipknot - and about muse. so i started reading them. told esther about that and she tried to convince me to buy the muse champion lounge ticket for the bern gig this summer. unfortunately, i had no 300 euros for doing that.
easter, early april 2010: being at home with my lovely girls. being able to complete my music archive on my mp3 player - finally!
18 april 2010: following muse on twitter; discovering the musewiki; posting on facebook: "i'm in love with muse".
19 april 2010: started to make a research on muse via youtube and from that day watched almost every fucking video on there with dom, matt and chris. posting them furiously on facebook for esther, making all of my other friends mad.
starting to write the first chap of my muse fanfiction and telling esther about it.
facing her with the serious plan to go to see muse live this summer.
facebook entry's saying: "okay, i'm starting to get obsessed"
22 april 2010: wearing my dom-dedicated green throusers and ordering "out of this world" by mark beaumont via amazon
25 april 2010: the plan to go to wembley in september grows in our minds... maybe also caused by the haarp vids and twitpics we consumed.
facebook entry: "okay, i need to stop that muse thing". two of my fb friends liked that.
26 april 2010: facebook entry: "dom, i love you. now it's said!"
28 april 2010: wembley! tickets! bought!
that was the point of no return. sometimes we got the impression that the level of escalation is getting lower - but it's actually rising again every fucking time, even higher! it really feels like being thirteen and a boygroup fanatic again, but much better because this time we know it's worth it for the music. only for music! and because this band is unique and epic. these guys really are.
this week we booked our flights to london. our whole live is directed to that week in september. we're on our way.
Oh, 1999…Columbine, Bill Clinton’s impeachment, Californication, The Battle of Los Angeles, Enema of the State, Mr. Oizo, the reunion of Modern Talking, Germany’s most dangerous band.
What have you not?
The end of the century was nigh.
Cell phones were unheard of in our peer group.
We were 16, recently graduated, high on lemon ice tea, chocolate chip cookies and Gavin Rossdale.
The Rodgau Casi Kingz had just been founded, and almost instantly recorded one of their greatest hits: the glorious, Bloodhound Gang-inspired Burn Meisenknödel, Burn – a modern classic. Back off, Guerrilla Radio!
‘It has to start somewhere; it has to start sometime – what better place than here, what better place than now? Oh hell, can’t stop us now!’
Needless to say we skipped our graduation to attend our first festival that summer. Needless to say we weren’t even half as cool as we thought. Southside festival in Munich, three girls who thought Courtney Love was the coolest chick in the world, had wet dreams about Gavin Rossdale and a little teenage angst of die-hard Marilyn Manson fans. We were excited to see bands like Bush, Hole, Massive Attack, Blur, Placebo and Live.
And we used to look like this:
left to right: Marion, Esther, Naischel
It was 1999 too, that saw three twenty year olds on their first tour in Germany.
Needless to say they played that particular Southside festival we attended. It’s been 11 years almost to the day.
Needless to say we had never heard of this band Muse. And therefore didn’t see their gig. And have regretted it ever since. If only we had known back then what we know by now.
Regrets are worthless. Would we really have gone mental for these guys?
left to right: Chris, Dom, Matt
I try to convince myself I had been aware by late 1999 of a single called MuscleMuseum and a record called Showbiz. In reality it wasn’t until 2000 that I saw the music video for the first time and not until 2002 that I bought the record to complete the back catalogue. Looking and listening back now, I don’t have a clue why this didn’t immediately catch our attention. We were in the midst of puberty. Songs about the fatigue of small town life and the struggles of relationships should have talked to us – it was what we went through right there and right then. ‘Controlling my feelings for too long’ – the title track of the record should have been our anthem.
But falsetto and weird guitar sounds weren’t necessarily the weapons of choice for us three 99ers. Gallagher-ism had made our ears temporarily deaf for such diamonds like Hate this and I’ll love you, which to my mind is actually the better version of Beyonce’s Single Ladies, nonchalantly stating ‘I’m so over you, dipshit’. A song like Sober which takes the piss out of conformity with Matty spitting out the lines ‘You’re so solid’ – eternal truths. The only explanation for our ignorance applies to our whole history with this band: we just weren’t ready. Part of me thinks we will never really be.
If something like this can grow in as unlikely a place as small-town Devon…then you should prepare yourself, world, for what is about to come out of small-town Rodgau.
My 2010 version of the play list I wish I had had on my walkman in 1999:
especially for his birthday esther and i invented a new nickname for maffoo: the german expression is "giftzahn", but you could translate it as "poison tooth" if you wanted to. if you can't imagine why please take a look at that pic:
but i must admit that i liked the rock am ring performance even better - maybe because of the "more rock set" muse wanted to play their harder songs to compete with metal ass bands like slayer. well, i guess they won (genius story about the UFO interruptiong slayer's tv broadcast and even their show. hahaha!)
and the two interviews for german mtv and swr3 das ding has just been incredibly funny!
so that has been a nice muse week so far. and esther shopped off her ass in london with dvds, the nme special issue plus the q magazine and is studying the early muse years right now. i hope to see some of the results soon in here!
okay, its a fucking UFO!!! muse are becoming insane, but WHO CARES?!
wish we could have been there, too. this stage looks amazing!
tomorrow gonna be the craziest day ever: naischel will be @batschkapp frankfurt to see 30 seconds to mars (and propably getting married with j), esther is flying to london and my girl monsn is visiting me in hamburg for the weeekend. it's gonna be MENTAL!
and on saturday there will be muse's rock am ring performance broadcasted live via mtv germany. love it!
Escalation, YAY! Last night I spent most of my time following the Tweets about Muse's Secret Rehearsals in the MK bowl - it was amazing! Being hundreds of miles away but feeling like beeing there, just because someone's tweeting about it. That's why I love it!
So, what can we expect for Wembley? It's gonna be EPIC I'd say. A real Neutron Star Collision ON STAGE. A pyramid lightning. Finally, the UFO Maffo was dreaming about for several years...
NSC by the way... its cheese, but the very same time its the sadest lovesong I've ever heard. So tragic, so true. But maybe it touchs me in a special way because I felt the same: losing someone that ment everything to you. I guess it's his way to say good bye. And: NSC grows with every repeat! It's catchy and it needs a big gesture to stand the cheesiness - but its a great song after all! We would love to see the video without the twatlight crap in it, because the Muse parts are fantastic. Even if Matt looks much to fragile. Give him some pasta, please!
The Making of for the Clip: Lady DomDom is hilarious! Can't wait to see his Wembley dress!
Well, Esther's very busy with per final exams (which doens't make her stop escalating, btw) and I'm busy with starting my new job, but the Wembley plans getting more and more concrete. There gonna be a Teignmouth excursion the week before the concert. Just to feel the spirit. The guru gonna be there too via telephone conference... Actually we see ourselves playing a melodica and a tea pot on The Den - so watch out!
Indeed, The Road to Wembley started with the incredible Muse Gig at Southside Festival 2006, the first time the band performed their new songs from "Black Holes and Revelations" to a festival audience, with a huge light and effect show that blew everyone away.
We stood at the Sky Lounge opposite to the main stage, thanks to the fact that i won the access to that, waiting for the band to perform. A really young lad appeared and started a talk with us - he told us that this was his first festival ever, and we felt kind of old but wise the same time. Well, he was very enthusiastic about Muse, and we nodded and thought "Yeah, you're right, but WE know them since the very fucking beginning". He introduced himself to us as "Tobse", and he was such an angle-faces boy that we almost immediately fell in love with the way his innocent love for music glimpsed through his words. While we watched Muse playing themselves and us in Rock'n'Roll heaven, the boy diappeared - and we weren't sure if he ever has been there for real. Maybe he was just the reflection of the perfection Muse's music brought to us that very night. After the last chords of "Knights of Cydonia" we simply weren't able to speak. We left the festival ground in silence, both in our own sci fi-world, falling in our tent and had the greatest sleep at a festival EVER.
But the whole story for me started a lot earlier, in 1999, with Muse's first music video on heavy rotation on the faboulous German music channel Viva 2: "Muscle Museum". Never heard anything like that before. Combined with a really strange video with crying people. I loved it!
Muse were confirmed as support act for my personal post grunge heroes Bush in early 2000, and that was actually the first time I saw them playing live. The one thing I remember very clearly (except the strange and very boyish haircuts they had) was that they didn't seem to fit in a fucking small and ugly venue as the Offenbacher Stadthalle. They treated their instruments like they wanted to train them to make sounds no one ever made them before. In German there's the word "Gniedeln" that hits it perfectly. Muse left the crowd stunning, but also a bit uncertain about what that was. Genius? Madness? Something in between, definitely.
A month later I bought "Showbiz" at HMV in London on a trip to my parents friends there. Being back in Germany, I made me listening to the entire album only once. I can't say why, but it simply didn't connected to me. I remeber that I was really disappointed by that. Maybe I should have taken some more time, but as a reflex to my disappointment I gave the CD away to a friend. And it actually needed half a decade until "Knights..." made me feel connected with Muse again. But this time deeply inside.
...the road to Wembley actually started unintentionally - and quite a while ago - with, well, 'Knights of Cydonia'. The impact this song had when we heard it for the first time might not be so easy to comprehend now that it has become one of Muse’s most popular tunes. But back in the June of 2006, in the midst of the ongoing party that was the Football World Championships, on an abandoned military base hosting Southside festival in Germany it was an epiphany, really. One of the weirdest pieces of music ever heard; and maybe exactly therefore: one of the best, too. You know these moments in life when you feel you've just witnessed something extra-ordinary, something special, something so spectacular that you will always remember where you were, and with whom you shared it...this clearly was one of them. Over the years there were phases when music didn’t play as big a part in our lives as it used to be. But then, occasionally, you listen to a song and it means the world to you. Maybe just for the three or four minutes it lasts. But the good ones, those with a soul, stay with you. They accompany you through the good, the bad, the ugly times. Like true friends do. It is such an incomparable feeling when you realize the eternal truth in John Miles’ unforgettable lines “Music was my first love, and it will be my last”.
It’s all about emotions, really.
Music makes your heart and soul blossom.
And occasionally, it simply blows your mind.
So here we are, 4 years later, 4 years older…more mature, one might think.
... and still waiting for our tickets. It makes us kind of NERVOUS that they gonna ship them shortly before the event. Why the hell? But well, we gonna wait in patience.
Anyways, we got no idea how and when we are leaving Germany for Wembley. Any suggestions? Maybe we gonna cycle all the way... maybe: NOT. We don't even know where we are living at that point or what we are doing - future is just to come. But one thing's for sure: WE GONNA BE THERE!
Today 2 things has been announced via Muse.mu: There's gonna be a new Muse Song soon for the Eclipse soundtrack. We don't need to say anything about that, do we?
The second thing is the support slots for the European Shows.
Well, two weeks ago, Esther and I - two third of the famous and incredible Rodgau Casi Kings (watch out www.myspace.com/rodgaucasikings for more details) - made a decision: We gonna see MUSE live @WEMBLEY on September 11th 2010! But actually, it was all the Guru's fault - our third band member called Naischel infected us with the between genius and insanity switching virus of late adolescence fandom by becoming an 30 Seconds To Mars addict. So we became escalating Muser in return... and we love it!
We gonna document our mad journey to the GODS of Rock Music, and you'll be able to be a part of that.
