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"Endlessly" was the last song completed. Muse struggled to improve on the simplicity of Bellamy's demo, recorded with a piano and a four-to-the-floor drum machine rhythm. Eventually, they used lighter, jazzier drumming and an old Hammond organ. [5] Later in 2003, Muse and Costey spent three weeks in Cello Studios, Los Angeles. [5]
Muse co-produced the album with Rich Costey, Mike Elizondo, Shellback, and Timbaland. Following the darker themes of Muse's prior albums, Simulation Theory incorporates lighter influences from science fiction and 1980s pop culture, with extensive use of synthesisers. The contemporary political climate of the United States informed the lyrics.
The song was released on 5 June 2000 on 7" vinyl – backed with a live version of "Sober" – double CD – backed with "Recess", a live acoustic version of "Falling Down", "Nishe" and a live acoustic version of "Hate This & I'll Love You" – and cassette – backed with "Recess".
Muse's first live album, HAARP, was released in 2008 and reached number 2 on the UK Albums Chart. [2] The Resistance followed in 2009, topping several countries' album charts for the first time, as well as reaching number 3 in the US. [ 6 ]
Along with the single release, Muse ran a competition to win a signed and framed set list, also in conjunction with Oxfam. [6] In 2005, "Apocalypse Please" was featured on the live video album Absolution Tour; [7] in 2008, it was also featured on the DVD edition of the live album HAARP.
1. “autumn Leaves” By Nat King Cole (1955) This track—originally sung in French—has been covered countless times (by icons like Bing Crosby, Doris Day and Frank Sinatra, to name a few).
Falling Away With You; Falling Down (Muse song) Feeling Good (Muse song) Fillip (song) Follow Me (Muse song) Forced In; Fury (Muse song) Futurism (song) G. The ...
I’ve spent important times of my life in Spain and Greece, and various deep things happened there – falling in love, stuff like that. So maybe that rubbed off somewhere." [188] Wolstenholme's basslines provide a motif for many Muse songs; the band combines bass guitar with effects and synthesisers to create overdriven fuzz bass tones. [189]