• Seminal Albums Part 2 - Mogwai, Young Team

    14 feb 2009, 23:03 av Bambi2803

    I hate pitchfork. I hate their snobbiness, their sneering at anything overrated, at anything that tries the middle ground between critical acceptance and popular can't-get-that-song-out-of-my head humming, their slavish acceptance of Radiohead (amongst others) while their disdainful look-at-me-I'm being-contrary-for-the-sake-it-ism. That all said, however they are right aboutMogwai Young Team. As much as I tried to hate this album so I would not be a typically 'indie' follower/sheep (and boy I tried) I love it. It introduced me to the world of and its influence is amazing. Seeing them live in Edinburgh last year confirmed their importance.

    The album, now over a decade all, has lost none of its power. Post rock is often criticised for being a limited genre, often merely reverting to soft-LOUD dichotomy (yes Explosions in the Sky, as much as I love The Birth and Death of the Day this applies to you. Young Team was where it all started, taking as its inspiration The Velvet Underground, the shoegaze of My Bloody Valentine and Jesus and Mary Chain with some monster metal riffs.

    The opener Yes! I Am A Long Way From Home builds a gentle rush of feedback and low moaning guitar, building into the slumbering volcano that is Like Herod. To describe this monster as simple soft/loud does not do it justice; the low menacing rumble of instruments sounds like Krakatoa burbling; when it bursts open the resounding roar strikes your from your seat with its power. Few bands, on their debut album no less, can bring such a devastating mix of power and urgency into an 11 minute piece and keep you enthralled the whole way. They do it twice too but more of that later.

    Most of the other tracks blend into each other; when you think the album has stuck in a rut, there comes a song like Tracy, showing Mogwai's inventiveness and desire to push boundaries; R U Still in 2 It with its lovelorn vocals (what a perfect day to be publishing this eh?) describes by its shuffling-feet ideas the hopelessness of a loveless relationship.

    The best is saved for last. I used to think that those who suggested that long pieces let the piece 'breathe' were idiots who probably sipped wine and listened to far too much Pink Floyd; however here they proved me wrong.Mogwai Fear Satan, A song of breathtaking vision, a song that seems to sum up the whole of creation, building into an almighty sound and, la piece de resistance, a flute providing beauty on top of the muscular guitar. At no point do Mogwai go for broke, just add noise on top of noise. The whole piece is remarkably restrained and for that has an extra layer of poignancy; this can be said for the album as the whole. The effect is to make the noise much more powerful than if it were simply turned on and off, a trap that many post-rock artists fall into.

    What effect did this album have on me? It was aurally hypnotic; I couldn't help but listen to it again and again. It introduced me into fuzz-rock, noise and drone for which I am eternally grateful. It made me understand that Pitchfork can (rarely) have a point. And that noise can be beautiful. Just let this album wash over you. It will challenge you and catch your breath at its power and beauty
  • 19 марта - Miami Scissors, On Wave (впервые в С-Пб), 1st in space - Цоколь

    19 feb 2009, 12:07 av tomat_ok

  • Marylawn Hair Video by Holler, Wild Rose! featured on Myspace Canada

    30 mar 2009, 01:32 av backlightmail

    Myspace Music Canada is featuring the video for Marylawn Hair by Holler, Wild Rose! on the front page of Myspace Music Canada this week. If you haven't had a chance to see the video yet - you can view it by clicking here: http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=45700717

  • 24 апреля - On Wave, Слезы смешны, Поиск Сети, Вентура

    3 apr 2009, 14:39 av tomat_ok

    Первый большой московский концерт On Wave в клубе Резиденция, на новом арбате.

    Так же играют наши друзья, группы:
    Слезы смешны
    Поиск Сети
    Вентура


    http://www.last.fm/event/1012941
  • KCRW’s Mathieu Schreyer’s Top 10 Albums of 2007

    30 nov 2007, 01:41 av backlightmail

    November 29, 2007
    Mathieu Schreyer’s Top Ten Albums of 2007



    Mathieu Schreyer, is the KCRW host of "On the Corner."

    Top 10 Albums of 2007

    Voici:

    1) Little Dragon - Little Dragon (Peacefrog)

    2) Andy Bey - Ain't Necessarily So (12th Street Records)

    3) Cinematic Orchestra - Ma Fleur (Domino)

    4) Various Artists - Colombia!: The Golden Age of Discos Fuentes (Soundway Records)

    5) Trus'me - Working Nights (Fat City Recordings)

    6) Waldeck - Ballroom Stories (Dope Noir Records)

    7) Christian Prommer - Drumlesson, Vol. 1 (Sonar Kollektiv)

    8) Cornelius - Sensuous (Everloving)

    9) Holler, Wild Rose! - Our Little Hymnal (Backlight Records)

    10) Nicole Willis and The Soul Investigators - Keep Reaching Up (Light in the Attic)

    http://laist.com/2007/11/29/mathieu.php
  • New and old

    24 jun 2007, 11:43 av MadameBellamy

    New:

    "Carnavas"- Silversun Pickups:
    My lovely ex-flatmate bellamysprotege gave me a copy of this album, and it's been love from first listen. The whole album is just wonderful, and (I think) is best listened to in order. All of the songs just fit together perfectly, and the order in which they come is brilliant. There's not a dull moment throughout the whole album...
    Favourite tracks for me on the album include "Little Lover's So Polite", "Rusted Wheel" and "Common Reactor" but they're all amazing.
    I'd say they're like The Smashing Pumpkins of todays generation. Sadly, the NME said something along those lines before I got a chance to
    write it down!

    "Wowee Zowee"- Pavement
    Although not being a new album this album is new to me. A few years back (2002?) I used to listen to "Slanted and Enchanted" LOADS but never had any more of Pavement's collection. That has changed now as that lovely chap weasy has given me more.
    I think what sold "Wowee Zowee" to me is the first track on the album, "We dance" which I adore.
    Overall, this album is sound, but I do find myself drifting in and out of it, so I've never managed to give it my full attention. Still, it's grown on me and has re-kindled my admiration for Pavement.

    "Melody of Certain Damaged Lemons"- Blonde Redhead
    (Once again, this album is not new but is new to me!)Before I listened to this album, I listened to Blonde Redhead's self titled album a few times. To me, Blonde Redhead are quite a curious band. Extremely interesting music and performance style. I wish I'd caught them at Oran Mór (Glasgow) a few weeks back, maybe next time.
    Still, "Melody of Certain Damaged Lemons" is a fantastic album, with aspects reminiscent of Sonic Youth sound. Fans of Blonde Redhead will know that there is some connection with SY but I can't remember exactly what it is. I was told. Sorry weasy, I've forgotten...
    If you're a fan of Sonic Youth and haven't heard anything by Blonde Redhead, definately give this album a go. You'll be pleasantly surprised. I think :)

    "Transparent Things"- Fujiya & Miyagi
    I love this album! It's a lot of fun to listen to and reminds me a little of Talking Heads, which I know will turn some people right off. Still, if interesting lyrics, synthy choonz and upbeat tempos are your game, this could well be the album for you!

    Old:

    "Mellon Collie and the Infinite Sadness"- The Smashing Pumpkins
    One of the best things about music is that you are always taking in new artists and sounds. As much as that can be exciting and stimulating, there's nothing better than being re-united with an old "friend". This friend for me is the masterpiece that is "Mellon Collie and the Infinite Sadness".
    That bloke weasy (him again) told me that Corgans aim with this album was to write an album on the level of Pink Floyd's "the Wall". A monumental aim which he achieved with ease.
    This double disc album is full of treats for all listeners no matter what taste in music you have. I'm a big fan of "Tales thru the eyes of ruby", but having listened to it a few times on my headset, I've grown a massive soft spot for "Tales of a Scorched Earth". How brutal is that track by the way? Corgan owns.
    I'm glad that I've had my love for this album rekindled. It's stunning.

    "Origin of Symmetry"- Muse
    C'mon, you didn't REALLY think I was going to get through a journal entry without mentioning these guys did you?
    Having seen them at Wembley last weekend, which was probably 2 of the best hours EVER, I've been buzzing all week. (Here comes the mini review:) The best thing for me about this gig was that the set list was out of this world. It impressed the newest fans; it catered for their fans who have been there since day 1. Obviously, since I am sliiiiightly obsessed with "Origin of Symmetry", Muse playing 6 of the 11 tracks from that album did mean that I had the best time EVER. As soon as Dom thumped out the "dun dun........dun dun....." to signal the beginning of "Citizen Erased", I was in tears. Over-reacting girly moment- fuck off. I love that song and had waited 3 years (!!!) to hear it live since their set at T in the Park.
    But yes, hearing the songs from OoS live again made my day (possibly year) and has sparked yet another wave of appreciation for that album. I really don't think you can beat the intensity of this album.
    You've got to hear it on vinyl. I have it on vinyl. Yum.
  • Wembley Stadium - 16th and 17th June 2007

    20 jun 2007, 18:13 av Teneroth

    As the Muse exodus, South for most people, to London approached, rumours flew wild. There were hints of an orchestra, later refuted by Wolstenholme, a statement of 25 songs from the band. The big question was however ... would it go down well, and would it top Earl's Court 2004?

    As I changed at Wolverhampton, I was thankful that my connection was late, as my previous train had been. Things had been going rather well, and they continued to do so. In Euston, there wasn't much hint of the upcoming pilgrimage later that day. Were people not staying in Central London or Camden? That seemed rather strange, considering the 90,000 people travelling in and out each day solely for the Muse concerts.

    While others were less fortunate I should imagine, I was only one Underground stop and 15 minutes away from Wembley Park tube station, and another 15 from said station to the stadium. The journey there was surprisingly quiet, plenty of room to sit down for that short period. Three stops and what seemed like a minuscule amount of time later, the first view of the stadium's arches welcomed me and whoever else was going. I usually dislike London tremendously, but I felt as though I was being welcomed home. There was no where on Earth I'd rather be, and at no time but this that I'd rather it be. This is where I belonged.

    As I walked down Olympic way, the usual concoction of touts and counterfeit merchandise was on sale, under the watchful eye of the all-pervasive but nonchalant police force. Up the ramps I went, but back down again when I realised that I needed to go through the Footballer's entrance rather than audience entrance. Ticket out and suites checking it, I walked down luxury isles to the team's seats. There I sat quietly until The Streets came on, and as usual Mike Skinner proved that, while he's not much of an artist, he certainly does provide pre-show entertainment. The crowd however had none of his "Time Is Running Out" or "Radio Ga Ga" nonsense. No ... the insanity only begun an hour later.

    In the mean time, Mexican wave after Mexican wave went around the stadium finishing each time with great applause from the opposite side. As the stage emptied, the crowd roared, the stamping begun, and the screaming commenced.

    Muse didn't present their entrance in the age old "get on and play songs" way, this time they added some nonsense alien to their usual no-nonsense concert. Under the central platform they crawled, through to the middle where a rush of smoke and dramatic classical music introduced those who needed no introduction. Up and across they went, alien themselves to these otherwise preposterous theatrics - perhaps in disbelief, or nervousness.

    To fans such as myself, the set list was ridiculously predictable. Every intro, every guitar change, we knew what was coming next. But we didn't care. We were here for the music, the atmosphere ... The script was of no consequence.

    On with Knights of Cydonia, Hysteria, Supermassive Black Hole, Map of the Problematique, Butterflies & Hurricanes ... moshing as we went. It wasn't until Citizen Erased that the experience really began. This was the reason many fans had come, those apocalyptic bass drum beats, that whining guitar ... This was the emotional roller coaster that is Muse - this was Origin of Symmetry. On with Hoodoo, all the way through to New Born the atmposphere swelled. As Bellamy approached the front of the stage, we put our hands up in unison for the New Born salute. The remnants of Ashamed later, we were waiting again.

    On came the staple part of any Muse gig since the epicness incarnate that was Earls Court, the mobile phones. What a sight it was, a galaxy of our own, filling the stadium with stars of light. Then came Unintended, which many fans hadn't heard live since 2001, and to end the encore, Blackout. Accompanying this quiet contemplative number were two acrobats sent into the crowd attached to large balloons going up and down, to the crowd's delight. Off they went again. This was what we had been waiting for, this is what was reserved for gigs of true epicness. Out went the non-fans, leaving the real fans the stadium to themselves.

    Two minutes later, Bellamy & Co. were back again, thanking the crowd with "We know many of you came a long way so thanks for coming down [...] Thank you for making us the first artist ... to sell out Wembley fucking Stadium!", and the crowd's noise level swelled as everyone screamed back at him. Here it came, those first notes, the dedicated fans making some noise, the oh-so-familiar chill rising through the spine and accompanying shudder. This was Micro Cuts. As we sang along to his whistle register vocals, our ability learned solely through our fanhood of Muse, the defining moment of this concert passed but yet didn't pass, in a strange paradox of timelessness. As the crowd screamed the descending outro in unison and Bellamy entered from one state of seemed insanity to another to play the guitar outro, the moment and gig had been defined, and the ultimate answer gotten. Yes, this concert had definitely been an epic masterpiece.

    While the climax had ended, the concert hadn't. On into Stockholm Syndrome Muse went, the crowd following with a jumping in unison throughout the crowd, from the back of the seated area, the back of the standing area and to the front of the mosh pit. Finally, As the end of the Stockholm Syndrome outro arrived, dedicated fans 'in the know' took a bow to Bellamy, and surely enough the synths responded. While not a jump-enabling number, the sheer epic feeling of the song made a suitable and effective ending, especially with the accompanying flames. Until tomorrow, I thought.

    That night I slept a mere 4 hours, being lucky with that. This time however, both lines from the Camden area were closed due to scaffolding on the track ... The adventure began. From Great Portland to Baker Street, from Baker Street to Queen's Park, and an extraordinarily squashed journey from Queen's Park to Wembley Central, to the incredulity of those looking on in disbelief.

    The second night was almost identical to the first, aside from the lack of smiling on the band's part, and more commercially-orientated songs and the lack of fan favourites. Bliss was certainly the highlight of the second concert, predictably Bellamy screamed the entire last chorus, this being a gig of epic proportions. Of course, we followed suite. As I took the train back to Euston, I couldn't help but feel contemplative. Was it the fact that somehow I'd been lucky enough to find a specially organised direct train to Euston, or was it just that I'd just continued my commitment to go to every Muse gig of utmost importance? One thing I knew for certain was that Muse gigs are where I belong, and my fanship was undeniably reinforced. I felt thankful to Mr Bellamy for inviting us to share in his soul, to put it in the words of a banner from the 2001 Zenith gigs, "Thank you for putting your heart and soul into rock and roll"!

    Where next, I wonder? Where else is there, but straight across and down from here?



    A reminder if I may:
    Very comprehensive articles about both gigs can be found on http://musewiki.org
    Also, detailed discussion can be found at http://muselive.com

    Muse
    Wembley Stadium 16th June 2007
    Wembley Stadium 17th June 2007
    Apocalypse Please
    Ashamed
    Blackout
    Bliss
    Bliss (extended)
    Butterflies and Hurricanes
    Butterflies & Hurricanes
    Citizen Erased
    City of Delusion
    Feeling Good
    Forced In
    Forced In (Instrumental)
    Hoodoo
    Hysteria
    Invincible
    Knights of Cydonia
    Maggie's Farm
    Maggie's Farm Riff
    Man of Mystery
    Map of the Problematique
    Micro Cuts
    New Born
    Plug In Baby
    Sing for Absolution
    Soldier's Poem
    Starlight
    Stockholm Syndrome
    Sunburn
    Sunburn (piano)
    Supermassive Black Hole
    Time Is Running Out
    Unintended
    Biffy Clyro
    Dirty Pretty Things
    My Chemical Romance
    Cancer
    Helena
    I Don't Love You
    Welcome to the Black Parade
    Shy Child
    The Streets
    Dry Your Eyes
    Fit But You Know It
  • Composition

    27 jan 2007, 00:26 av MadameBellamy

    Right, so after tears and tantrums last night regarding my final composition portfolio, I had a brainwave during one of my lectures today on how to rectify the situation.

    The idea?
    To take an album, analyse each track on the album individually and come up with an overall average regarding the mood, dynamic, key etc for each track. With the findings for each track, I will then apply them to a excerpt of melody I wrote a few months back.

    The aim?
    Essentially, to come up with so-called "moments" (A term coined by Karlheinz Stockhausen) exploring ranges of instruments, dynamics, moods and sound possibilites...For example, an 11 track album would have 11 moments, all varying in length depending on the aforementioned findings.

    Ok, so what album are you going to analyse?
    Origin of Symmetry
    This album changed my life. It's the album that took me to Uni to study Music...It's the album I'm going to pay homage to in one of my final composition portfolio pieces.
    This album, for me, is the ideal material for this project as it encapsulates so many ideas, moods and most importantly, musical styles.

    Can you give us an example?
    Yes, although not a concrete one. Take for example, the opening track "New Born", which lasts for 6minutes 03seconds (363seconds).
    The tempo for this piece is crochet= 147; the opening dynamic is around the mf mark, eventually moving to a f dynamic, and finally a ff dynamic; the piece is 220 bars long.
    Taking into consideration these simple findings, I will compare these findings to the rest of the songs in the album and come up with a performance chart.
    The performance chart will be in 11 'sections', working their way from "New Born" to "Megalomania". Each 'section' will have it's own average dynamic marking, a tempo, a key signature, a set duration and music which will relate to my portfolio concept. (It's the idea of exploring what can be done with a simple melodic fragment in different musical styles if anyone's interested!)

    What will be contained in each 'section' bar the performance instructions?
    Each section will have a different title, as yet undecided. These titles will probably be descriptive titles relating to the sound desired upon peformance.
    Regarding instruments, I have yet to choose specific instruments...I am toying with the idea of 5, 7 or 9 instruments. It will be more than likely that there will be an even number of tuned instruments (eg. 4, 6, or 8) and a singular untuned percussion instrument under pinning each 'moment'.

    Regarding the instruments, will it just be written for guitar, bass, drums, oboe, sax etc?
    Well, I've not decided what instruments I'm going to use yet. I think it would be interesting to use an instrument from each family (but I've not decided which classification system I'm going to use yet! Hornbostel-Sachs anyone? bellamysprotege?) but that's just an idea...
    What should be noted, however, is that the music written will not be specifically for an instrument. It won't be a 'normal' layout with the instruments indicated, eg. drums, guitar, bass, piano, vocal. Instead, each line of music will be given a letter or a number, eg. 1, 2, 3, 4, 5.
    For arguements sake, lets say 1= guitar, 2= bass, 3= sax, 4= trumpet, 5= drums. In the first 'moment', the guitar would then play line 1, the sax line 2 and so on, through out all 11 'moments'. However, the designation of parts is completely random (apart from the untuned percussion part...Part 5 would be given to the percussionist every time, however, they could be invited to use different weights of sticks etc). The next time the piece is performed, part 1 could be given to the sax, 2 to the guitar etc. This brings about many different sound possibilities...
    It's also worthwhile noting, that the melody will not always occur in line 1, it will appear in different lines of the music at different pitches and in different rhythms.

    Bloody heck, that's going to take you a lot of time?!
    Not if I can analyse the pieces as soon as possible and come up with a coherant system...Then it's just a case of writing some music!

    Rather you than me...
    ...That's why I'm studying music...

    So that's the idea. You're probably all going eh? Or "what drugs are you on! Can I have some?" I understand it...mostly! Haha. We'll see.

    This journal entry was brought to you by Muse, Stockhausen, Mikrophonie I, Origin of Symmetry, and the letter 'M'

  • 2006: the year of Muse

    23 dec 2006, 12:00 av MadameBellamy

    2006 has been a good one for any Muse fan. A fantastic brand new album, 3 singles (with pretty artwork and lovely B-sides) and gigs to cater for thousands of Muse fans. I can't complain. This year I had the pleasure of seeing Muse 3 times in concert, something in previous years I had only dreamed of.

    When Muse announced the approximate release date of their new album back in April or something, naturally I was pretty excited. What made it even MORE exciting was the fact that they were playing at Radio 1's Big Weekend, which this year, was being held down the road from my hometown in Dundee. 4 tickets in hand, my mum, brother, friend and I all went along to see Muse's first performance on UK soil for over a year.
    It was a special performance with the band premiering "Supermassive Black Hole", "Starlight" and the undoubted anthem of the year, "Knights of Cydonia". They did not disappoint on any level. My Muse love had been given a boost (not that it needed one!).

    "Black Holes and Revelations" was released at the beginning of July and tested the loyalty of Muse fans. While being bigger than anything they'd written before, some fans didn't like it. I, on the other hand along with a load of people, fell in love with it instantly. The album also brought in a whole new wave of fans. BH&R is an easily accessible album; while the tunes are by no means simply put together, the layout of the album makes them easy to listen to. It's never going to be "Origin of Symmetry" to me, but it's up there.
    The songs cater for all: "Assassin" and "Knights of Cydonia" keep the Matthew Bellamy Appreciation Society happy, while "Invincible" and "Starlight" reassure people (like me!) that there is a soft side to Muse...It's not all about aliens and conspiracy theories.
    So far, the album has had 3 top 20 singles. "Supermassive Black Hole" being the first single peaked in the UK charts at #4, something that Muse were delighted about. "Starlight" and "Knights of Cydonia" have since reached #13 and #10 respectively. I'm expecting another 2 singles from the album...

    Having settled into that album nicely, a couple of weeks later, Muse announced (officially) that they were to play at Meadowbank Stadium in Edinburgh. I went along with loads of friends and my dear Mum (who had a leg injury so sat in the stadium by herself with her Muse t-shirt on. Needless to say, she was not impressed byMy Chemical Romance saying "who was that band before Muse? They took ages to get off stage...Eating into Muse time". Funny woman...)
    Muse played the best gig I have ever seen them play. They always manage to grasp your attention and due to being hungry for some Muse action, I held onto every note until it disappeared in the night sky. Not only was the venue perfect, the crowd were too. I spent half the gig near the front of the crowd before retiring to the frayed edges of the crwod in order to dance.
    Highlights of that gig? The amazing performance of "Showbiz", the utter chaos when "Knights of Cydonia" kicked off their set, the brilliantly executed "Butterflies and Hurricanes", the togetherness of everyone during "Starlight" and that chord at the end of "Take a Bow"...The gig left me breathless!

    The next question was when are they going to tour the UK? I secretly hoped it'd be around my birthday in September...They actually played in Las Vegas on my 21st birthday- how cool a birthday would that have been?!!!

    A week after my 21st, I finally got my Muse tattoo. Some people have criticised my choice in tattoo, but to be honest, they just don't know...My good friend tpickles recently justified my tattoo saying
    "I had a discussion with my friend the other day about band names as tattoos and yours came up. You are the only person that could ever pull it off. You are a Muse geek and clearly their music means that much to you and has done for so long..." Aw :)

    Muse toured the UK in November and I saw them on the 7th at Glasgow's SECC. I went with one of my closest friends and the two of us had a great time. The crowd weren't as enthusiastic as I'd hoped but still, that factor didn't tone down my enthusiasm. I let out a shriek of joy when the "Hullabaloo" balloons were released during "Bliss", bringing back memories of the first time I'd seen Muse back in 2002.
    The set was almost perfect...If only they'd played "Citizen Erased" and something off "Showbiz". Muse clearly were enjoying themselves though. "Hysteria" was epic, while the stripped back version of "Hoodoo" could also be described as being epic. How? It was a courageous move to put that in the middle of a set! The highlight of the set for me, along with the return of the balloons, was definately the unity between band and audience during "Starlight". The look of sheer euphoria on Matt's face as he lead the handclaps kept me smiling for weeks.

    What does 2007 hold for a Muse fan like me? A trip to London for the weekend to see them play at the new Wembley Stadium? I think so! That's happening a week before I graduate! A very nice way to round off my time at Uni...considering it's because of Muse that I went to study Music anyway.

    Also, my graduation present involves Muse, but I'm keeping that one under wraps :)

    Roll on 2007!
  • "We're months away from World War III"

    11 okt 2006, 15:01 av Lif3

    Matt Bellamy (Matthew Bellamy) on media lies, government cover-ups and why '9/11 was an inside job'....

    On August 26, Muse headlined the Reading leg of the Carling Weekend festival, a show the band themselves considered to be the high point of their career to date. The more observant Muse fans among the 80,000 strong crowd would have noticed frontman Matt Bellamy's t-shirt bore the words 'Terror Storm'...not the name of an obscure metal band, but rather the title of a controversial documentary by US film-maker Alex Jones, offering an alternate look at the US government's 'War on Terror'.
    Bellamy's endorsement of the film is all the more striking at the time when most major rock stars are loathe to voice political opinions of any kind, but then with songs on Muse's current 'Black Holes and Revelations' album addressing alien invasions, media mind control and political corruption, Matt Bellamy has never been a 'regular' rock star..


    Magazines like to paint you as a wierd guy: do you recognise yourself in articles you read?
    I don''t really get magazines and papers sent to me in Italy (Bellamy lives with his girlfriend near Lake Como, in the north of the country). But I read some stuff online if I get sent links. I think people see me as slighty 'out there', but I think that's a good place to be. In the world we live in I'd rather be out of the ordinary than ordinary because to be ordinary is to be part of a system that is very corrupt.

    Now that you're talking about conspiracies and politics are you attracting more crackpot fans?
    Well, we do get some beserk types following us around, New Age types who'll turn up with crystals and tarot cards, but that's not what I'm really into. I try to keep all the stuff away from complete hocus pocus. I don't think I'm a full-on Mystic Meg

    Does anything in life throw you now?
    The things that make me panic now are some of the conspiracy theories that I think about. It's like 'if that's true, we're in for a hard ride'. I've been saying for a few years that I think we are on the verge of World War III, but I genuinely think its starting now...we're potentially months away from it now.

    What makes you say that?
    Take a look around.

    Do you think you think too much?
    Possibly. You've got a lot of time on you hands when you're in a band travelling all the time. Being in a band gives you the chance to step outside of the system, think more freely. The schooling system we have in the Western world is crazy - you're taken away from your parents at your most impressionable age and fed a load of bullsh*t and lies manipulated ro make you think that the way we live in the West is stable and moral, when really it's neither.
    You come out of school with a one-track mind based on financial success, you're encouraged to become enslaved to the banking system. In school, I always felt, 'Something's not right here' and I'm starting to find out what it is. Being outside of the norm gives you freedom of thought and that's somethng being supressed in school and the media. If you have freedom of thought you get labelled as a crazy person, or someone strange


    Are you happier than any other time in your life?
    Very much so, yeah. But then I'm more concerned about things outside of myself than ever before. I've ousted the self doubt that plagues you in your early years but I seem to be much more unhappy with what's going on around us.

    Is that because you control everything in your immediate world but feel powerless to control the wider world?
    Well, my girlfriend is a psychologist and I've been down this road before, trying to look at whether my interest in conspiracy theories and whatever is due to psychological reasons, but I don't think it is. All you have to do is go on Google video and watch 'Terror Storm' or read books like'Synthetic Terror' by Webster Tarpley. It's better if people check these things out for themselves than just listen to me.

    And what can people expect to learn from these books and films?
    We are living at a time when there's massive suppression of what's really going on. All the things we're seeing at the moment, all the 'false flag' operations - which is where governments are either assisting orchestrating or sometimes inventing terrorist events in order to encourage the population to get behind them when they do extremely far right manoeures, like invading other countries or moving to a state or martial law.
    Very soon we'll be encouraged to be microchipped, the ID cards are just the first step towards that. These things are already happening and most people are happy to just chill out and not think about it. The differential between the bubble we live in - which is 'ordinary life' - and the reality out there is almostas heavy as what is being depicted in a film like 'the Matrix'. It could make you puke to make that step towards finding out what's really going on.
    Most people want to avoid looking into it and those people will point at the stray sheep outside and say 'he's crazy' or 'he's psycho' - even though the evidence is all there to be seen. 9/11 is clearly an inside job, there's massive evidence that suggests that it was allowed to happen, or even worse, deliberately made to happen...


    Are you sure you want to be saying this on tape?
    Yeah. I've been playing with the fear of talking about some of this stuff because there'll obviously be a backlash, but I feel strongly about it that I've got to say it. False flag operations have been going on time and time again in our history: there was a document called 'Project for the New American Century', which was made by neo-Con (right wing) writers in the '90s who supplied most of the agenda that Bush is putting into place now, which says clearly, 'We need a Pearl-Harbor-level event so we have an excuse to invade the Middle East'...
    Everything that we're living through is as a result of what happened on 9/11, so it's fundamental to our history to make sure we know what happened.


    Aren't you concerned that this sort of talk will get you on an FBI list?
    With the world we live in I think with the books I've ordered of Amazon I'll already be on lists...
    People like me will be an easy target. I'll be an easy person to make look silly. So that's why I say I read the books and watch the books then criticse what I'm saying.


    (From:http://www.muselive.com)