One night, about a decade or so ago, I was DJing at my then-residency, Bang!, when my friend Tim started going on about some new band from the U.K. There’s nothing unusual about that, my friends and I are frequently running on at the mouth about new bands from the U.K., so I’m not really sure what it was about this particularly conversation that made me run out to Vinyl Fetish and buy a single from said band. The single was called “Bliss.” It was synth-heavy and I thought it would sound pretty good with the Pet Shop Boys for some odd reason or other. I started playing it at my gigs, early, whenever I knew my friend was ready to hit the dance floor. The song did alright. It wasn’t a huge hit, but it didn’t completely clear the floor the way some new single from some new band called Interpol did at around the same time. Clearly, my friend has a rare ability to pick out the Next Big Thing because, one album later, the band in question– Muse– became pretty much the hottest band on the planet.
Over the years, Muse has put forth club hits, radio hits, live hits, Olympic hits. Now, their latest album, The 2nd Law, is available. I finally got around to pulling up the album on Spotify this morning, checking it out specifically to see if there’s something on the album that I could play during my sets. There are a lot of tracks that I really dig– “Save Me,” “The 2nd Law: Unsustainable” and “The 2nd Law: Isolated System” come to mind immediately– but those won’t work with the kind of DJ sets I’m playing at the moment.
As far as club tracks go, I’m leaning towards “Panic Station.” When I listen to “Panic Station”– and I have several times at this point– I hear this grand tradition of rock bands who had that one song with a beat so sick that it ended up in discos and sampled on hip-hop albums. It’s a really good, classic-sounding club track, probably a better stab at the dance floor than anything Muse has done before this point.
I’m also really into “Follow Me,” the track that’s co-produced by Nero. This is an incredibly beautiful middle-of-the-night potential anthem. The problem, though, is that it gets all wub-wub at the two-minute mark, which is distracting. Honestly, with Matt Bellamy’s knack for hitting the high notes in this song, and the soaring keyboards, I would love an Italo disco mix of “Follow Me.” You might think that’s cheesy, I say it is no more so than dubstep.