When you’ve had a decade like Muse, it would be understandably hard to stay grounded and down to Earth. But, then again, it was quite another thing for Devon’s favourite sons to have gone so positively intergalactic.

Somewhere along the line, the Matt Bellamy-led trio went from the catchy, grimy, infectious rock (which drew the inevitable ridiculous Radiohead comparisons) to going all crazy sci-fi on our asses, finally exploding into space-worshipping, operatic prog rock histrionics with last year’s Resistance – an album filled with eerie Twilight Zone-esque warbling, unmistakable Queen-isms, the kind of dirty bass grooves that could send any stadium in the solar system vibrating, and vocal gymnastics of such a high degree of difficulty that even Romanians would think twice.

Of course, this isn’t necessarily a bad thing. Just ask any Muse fan, of which there are an astounding number, both worldwide and in our territory. Their albums, which soar from ominous, apocalyptic symphonic rock to introverted classical piano interludes, have gone on to sell in their millions, amassing a string of top ten hits in the UK, including four from 2003’s fine Absolution, the album that really propelled them to become one of the world’s most popular acts. And while album sales may no longer be the same tangible indicator of success they once were, Muse’s global domination has been emphasised by one of the few concrete signs that the modern world allows: by Bellamy becoming a playable character in the video game phenomenon Guitar Hero.

Partnering video games and music is obviously a way of the future – but, of course, we don’t need to tell Muse. After all, that’s where they’re from, aren’t they? Mark Tjhung

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