“Guy [Massey] is currently producing and mixing albums for Sophie Jamieson (Bella Union) and Mezanmi plus mixing albums for Will Young, Louis Tomlinson (Live) and Lady Blackbird.”
"Initially, we went to AIR just to see how things would work out between us," he recalls. "I did what I normally do, and they sat back and observed me. In retrospect it's kind of funny, because now, having gotten to know them so well, I realise they were a bit coy. There was also something of a continental divide between the American use of superlatives and the more reserved English use of them, but I wasn't aware of this at the time. For instance, soon after we went into AIR, my engineer Wally Gagel and I got what I thought was a great sound for the band to track live, and when I finally rolled some tape and they came in the control room to listen back, I thought they'd be over the moon. However, their response was along the lines of 'Uh, yeah, it's fine. All right, let's crack on...' and I felt deflated. It turned out that they did like it, but they were simply a bit reserved. They loosened up later — and I'm sure I did, too — when we got to know each other better.
Rich Costey on meeting Muse for the first time, and British-American cultural differences, Sound on Sound interview, Dec 2003
never let anyone tell you that trawling through mediocre victorian poetry isn't worth it. we just happened upon an absolute BANGER of a worm poem. go read it or else 🪱🪱🪱
yknow i never noticed the sheer rareness of images having ids or alt text on this website until i started adding alt text to my art (and trying to remember to add it to any images i post in general, especially text screenshots) and that makes me kinda sad
i feel like a lot of the 'i hate kids' crowd would be more tolerant if they understood that due to a kid's limited experience of the world that 4 hour flight might just be the longest they've ever had to sit still for or that trapped finger might literally be the most pain they've ever felt in their short life or they might not have ever seen a person with pink hair ever so of course they want to touch it or nobody's told them yet that they can't run around the museum and they only just learned cheetahs are the fastest animals so of course they want to put that to the test. how were they supposed to know etc etc.
When I was a kid one of my moms would call her period "moon time" or "her monthlies" or shit like that and my other mom straight up stealthed it, but when I'm a dad I think I'm gonna go straight down the middle and call it Werewolf Week. Like sorry kids, dad can't roughouse right now, it's Werewolf Week
'Time Is Running Out' was probably the most difficult song for band and producer to nail down, especially with regard to an intro that required mucho experimentation. "We tried out all sorts of percussion ideas," says Costey, "including people clapping their hands and slapping their knees. At one point Wally even miked up Chris and Dominic scratching their heads to produce a shaker track, and that worked suprisingly well, but we didn't end up using it. Eventually, we concluded that the bass would comprise the centrepiece of the intro, so we had to come up with a unique, very characteristic tone, although I wasn't totally convinced about the bass line that we initially settled on. We spent an entire day trying to get the greatest bass intro sound ever created in all humanity, and by the end of that time we went with an acoustic bass guitar running through a ton of pedals and different amps. Then, just as we'd attained a sound that we thought was pretty good, Matthew walked in, listened to it and said, 'Fantastic, you've just spent eight hours on a flanged bass?' He was right of course, not having spent hours on the floor, toying with pedals and cables. We didn't keep any of it. Still, there was always good give-and-take like that, and we trusted each other enough to go with our respective ideas."
Rich Costey on recording Time Is Running Out, Sound on Sound interview, Dec 2003