I’ve made my love of Muse abundantly clear, and while they might not be critical darlings they have countless tracks that I absolutely adore. At the very least, every song is at least passable – but how would I rank all the tracks?
There are a couple of rules I’ve set out for myself – first of all, I’m only going to rank the songs on albums (otherwise this list would be way too big). Sorry, “Dead Star”.
I’m also not going to include “Hullabaloo”, as I don’t really consider it to be an official album. Most of the songs (other than “Hyperchondriac Music”) would rank quite low, anyway.
Finally, I’ll be grouping tracks like “Intro” and “Interlude” together with their appropriate song. With all that out of the way, we can get to my ranking!
You can check out some of my related blog posts below:
102 – Hate This And I’ll Love You
It’s worth mentioning that my tiers are relative, so in actuality “Hate This And I’ll Love You” isn’t badly made or anything.
I still hate it though, so Matt Bellamy contractually has to love me now.
101 – Drones
Barely a song, “Drones” concludes the album of the same name on such a boring note.
100 – Fillip
Some people think Muse’s debut album Showbiz is underrated and one of their best, but there are too many sub-par tracks like “Fillip” that hold it back for me.
99 – Save Me
I’m glad Chris Wolstenholme got his chance to write a song, but “Save Me” is the most boring Muse song of all. At least his second effort was better.
98 – Revolt
Far too pop and mainstream for my liking, “Revolt” sounds like another band’s failed attempt at spoofing a Muse song.
97 – Get Up and Fight
Just as unbearably tacky as “Revolt”, but I actually find the verses on “Get Up and Fight” to be passable.
96 – Compliance
I loathed “Compliance” when it first came out as a single, but it’s grown on me ever so slightly. The choruses are annoying as heck, but it’s relatively harmless.
95 – Big Freeze
Another decent song let down by its choruses, “Big Freeze” is trying too hard to be a U2 song.
94 – Escape
Chris Wolstenholme has gone on record saying he really liked “Escaped” and thought it was one of their best … really? Are we talking about the same song?
93 – Overdue
Fine, but nothing special.
92 – Euphoria
“Euphoria” acts a bit like the “Revolt” or “Get Up and Fight” of the most recent album, but it’s a lot more openly fun and upbeat.
91 – Falling Down
An early attempt at a more bluesy sound, and I’m glad they moved away from this ’cause it doesn’t suit them.
90 – Liberation
“Liberation” is the Queen-iest that Muse have ever gone. Some fans love this, but I’m mixed on it.
89 -The 2nd Law: Isolated System
A decent instrumental track, but a bit of a tame way to end an album.
88 – Hoodoo
One of my most controversial takes – “Hoodoo” is far too pretentious for me to enjoy, and it’s overrated massively in the fandom. It has its moments, but I’d rather skip it.
87 – Guiding Light
“Guiding Light” used to be one of my most loathed tracks, but the more I listen to it the more I kinda dig it. In a few listen’s time it may even crack the “Good” tier.
86 – Aftermath
I used to think “Aftermath” was one of Muse’s most underrated songs, but it got old quick. Lovely melodies though.
85 – Liquid State
The other Chris Wolstenholme effort from The 2nd Law, and I like “Liquid State” a lot more than “Save Me”.
84 – Dig Down
A song Muse fans love to hate, but I think it’s decent. The Alternate Reality Gospel version is the better option.
83 – The 2nd Law: Unsustainable
“Unsustainable” used to be my absolute least favourite Muse track, but after hearing it live I appreciated it a lot more.
82 – Follow Me
A bit like with “Dig Down”, “Follow Me” gets its fair share of hate nowadays for being too electronic, but it’s catchy as hell.
81 – Uno
I believe “Uno” was the first single they ever released, and it was a solid start to their career.
80 – Sober
It’s not as polished as songs from their later works, but “Sober” from their debut album has an underrated chorus.
79 – Won’t Stand Down
The choruses are far too broad for me to enjoy, but the verses and bridge in “Won’t Stand Down” are full of metal goodness.
78 – Falling Away With You
“Falling Away With You” has had a bit of a resurgence in the fandom recently, but I still think it’s the weakest track from Absolution.
77 – Feeling Good
A decent cover, but “Feeling Good” is overplayed and underdeveloped.
76 – Soldier’s Poem
A gorgeous little track, “Soldier’s Poem” is storytelling in song done right.
75 – Thought Contagion
It peaks in the first 30 seconds, and after that nothing else really happens.
74 – Will Of The People
A fun little Glam Rock tune, but “Will Of The People” is easily the weakest album opener to date.
73 – Something Human
A song that people love to dunk on, but I actually find the lyrics and melodies in “Something Human” to be quite lovely.
72 – Ghosts (How Can I Move On)
“Ghosts (How Can I Move On)” gets less effective on every repeat listen, but for now I really enjoy the simple piano melodies.
71 – Intro / Apocalypse Please
The stomping feet is an effective intro, and “Apocalypse Please” is a good tone-setter. I think the song immediately after it is a better album opener though.
70 – Blockades
The Muse-iest song on Simulation Theory, it’s the powerful choruses that I really like about “Blockades”.
69 – Cave
I just couldn’t resist putting a song about “coming in my cave” at anywhere other than the 69th position. Cool bassline too.
68 – You Make Me Feel Like It’s Halloween
A bit like with “Ghosts”, “You Make Me Feel Like It’s Halloween” will probably slink further down the list as time goes on. For now, it’s a fun romp with a cool synth hook.
67 – Propaganda
The filthiest and stankiest song Muse have ever done.
66 – Thoughts of a Dying Atheist
Not as heavy-hitting as the other tracks on Absolution, but I enjoy it.
65 – Prelude / Survival
The most dramatic song ever. Bonus points for both the gorgeous intro and the fact “Survival” was the official London 2012 Olympics theme.
64 – The Small Print
I’m a little salty that this got in the final album over “Fury”, but “The Small Print” still slaps.
63 – Verona
“Verona” is unlike any other Muse song we’ve heard before, and whilst the lyrics are admittedly tacky they tug on my heart-strings.
62 – Space Dementia
One of my least favourite songs from Origin of Symmetry, mainly because it’s too weird for me, but “Space Dementia” is still great.
61 – MK Ultra
Muse fully leaned into the conspiratorial and defiant lyrics on The Resistance, and “MK Ultra” also has some killer riffs.
60 – Spiral Static
I don’t think “Spiral Static” gets enough love. It’s a bonus track from Showbiz, and it hits way harder than it had any right to.
59 – Muscle Museum
Matt Bellamy got the title for “Muscle Museum” by finding the words either side of “Muse” in the dictionary. So that’s kinda neat.
It’s a great song, but I’m deducting points for the fact that Matt has played in every toilet and doesn’t want you to spoil it.
58 – Screenager
A cool, mysterious song from Origin of Symmetry, but it always feels like a step down from the rest of the album.
57 – City Of Delusion
“City Of Delusion” is one of those tracks where you’ll find something new every time you listen to it. I love the instrumental sections.
56 – Pressure
People may complain that “Pressure” is just a shameless reskin of old Muse songs, but that doesn’t mean it doesn’t slap.
55 – I Belong to You (+ French Words)
“I Belong to You” gets way too much unnecessary hate – Matt’s pronunciations are a little iffy, but the French instrumentation is gorgeous.
54 – (Drill Sergeant) / Psycho
You either love “Psycho” or you hate it. Personally, I think the main riff is simple yet effective.
53 – Break It To Me
I loathed “Break It To Me” the first time I heard it, but it’s a song that just gets better with each listen.
52 – United States of Eurasia (+ Collateral Damage)
It doesn’t get much more dramatic than this. “United States of Eurasia” was the Queen-iest Muse song until “Liberation” came along.
51 – Ruled By Secrecy
A gorgeous end to Absolution, “Ruled By Secrecy” is full of tension and emotive lyrics. Some people may think it’s too slow, but I don’t think Absolution could have ended any other way.
50 – Explorers
I never thought a Muse lullaby would ever work, but “Explorers” ended up being their most endearing song to date.
49 – Invincible
The midway point of “Invincible” is where I really start to dig it, but the first half is also pretty great.
48 – The Globalist
There’s definitely an argument to be made that “The Globalist” is an overblown and pretentious song, but I just can’t help but love this 10-minute epic.
47 – The Handler
Boasting a killer riff and bridge section, “The Handler” is easily one of the most well-put together Muse songs of the past decade.
46 – Unnatural Selection
Pure riff goodness, “Unnatural Selection” is the kind of balls-to-the-wall Muse that I adore.
45 – Dead Inside
A fantastic album opener, and a fun bridge between The 2nd Law and Drones.
44 – Algorithm
Part of me wishes they’d used the Alternate Reality version of “Algorithm”, but in fairness the original is already oozing with enough drama and brevado.
43 – Micro Cuts
I do wish the lyrics were clearer, but “Micro Cuts” is pure insanity from start to finish and I love it.
42 – The Void
An underrated gem if ever there was one, “The Void” took a few listens for me to love but now I think it’s one of the best album closers they’ve done.
41 – Mercy
A crowd-pleaser in every sense of the word, “Mercy” is the spiritual successor to “Starlight” and slaps just as hard.
40 – Resistance
“Resistance” has always been my least favourite of the opening trio of songs from the album of the same name, but Chris’s bassline is one of his very best.
39 – Blackout
Muse aren’t really known for their quieter, more introspective songs, but they knocked it out of the park with “Blackout”.
38 – Futurism
A bonus track that I wish made the final album, “Futurism” is the Hysteria prototype with an equally mesmeric bassline.
37 – (JKF) / Defector
A slept-on track from Drones, “(JFK)” leading into “Defector” is one of the most effective one-two punches on any Muse album.
36 – Butterflies and Hurricanes
A song with a full-blown Rachmaninoff piano solo in the middle, and yet somehow it works. The choruses make me feel fuzzy inside.
35 – Assassin
One of the meatiest and nastiest guitar riffs on any Muse song, “Assassin” is exactly the kind of mid-album track that makes Black Holes and Revelations their best work.
34 – Darkshines
Yet another Wolstenholme bassline that slaps, except this time “Darkshines” excels at getting under your skin rather than making you jump out of your seat.
33 – Exo-Politics
I hold “Exo-Politics” and “Assassin” in basically the same regard, as they both succeed in keeping momentum going in the middle of the album. If I had to pick, this one just hits harder.
32 – Unintended
It’s easy to look back on “Unintended” and think it’s a far more boring song than what they’d later accomplish, but it’s got a lot of heart.
31 – Animals
“Animals” has one of my favourite grooves on any Muse track – that 5/4 time signature shouldn’t work as seamlessly, and yet it does. The lyrics hit hard too.
30 – Endlessly
A lovely ballad from Absolution, “Endlessly” is such a unique song in Muse’s discography and that’s why it’s so special.
29 – Kill Or Be Killed
Not as amazing as some fans would tell you, but “Kill Or Be Killed” is the kind of heavy Muse that I love. The riffs are electric, the guitar solo is phenomenal, and the choruses could shake a house down.
28 – Fury
I can’t believe “Fury” didn’t make the final cut of Absolution.
It’s Doom Rock at its absolute best – the lyrics are foreboding and chilling, and the guitar tones are absolutely massive. It’s no wonder Matt Bellamy lists this as one of his favourites.
27 – Hyper Music
Chris’s most underrated bassline, “Hyper Music” grabs your attention at the start and never lets go.
The energy of the entire band is immaculate, and Bellamy’s vocals in particular are some of hardest he’s ever done.
26 – Showbiz
Muse’s first attempt at a song that builds and climaxes to epic proportions, and it’s safe to say they nailed it the first time.
“Showbiz” contains quite possibly my favourite Bellamy vocal performance of them all, and the final minute is glorious.
25 – Exogenesis: Symphony Pt. 1-3
I might be cheating by grouping the “Exogenesis: Symphonies” together, but I think they deserve to be appreciated as one complete package.
Part two “Cross-Pollination” isn’t the most gripping, but the first and last part never fail to move me. The orchestration is wonderful, and the lyrics and vocals are beautifully tender.
24 – Sing for Absolution
“Apocalypse Please” is a decent start to the album, but I consider “Sing for Absolution” to be the true album opener.
It’s both beautiful and damning, and the underlying sense of doom makes the whole thing quite melancholy.
23 – The Dark Side
I know I shouldn’t like “The Dark Side” as much as I do, but boy is it fun.
It’s pure 80’s schlock, and everything about it oozes cheese and charm. In all honesty, the whole of Simulation Theory is slightly better than people think.
22 – Megalomania
The most underrated Muse song, there aren’t many better album closers than “Megalomania”.
It’s dark and foreboding, and Bellamy’s lyrics are at an all-time high. When he hits the high note in the final chorus, I’m in ecstasy.
21 – Uprising
Muse’s most popular song, and despite what some in the fandom say I think that’s thoroughly deserved.
“Uprising” has the kind of rousing riffs and lyrics that can make an entire generation sing along, and it always gets my pulse thumping and blood pumping.
20 – Sunburn
It’s rare for the first song on a band’s first album to be this good, yet “Sunburn” is a perfect album opener.
It has all the hallmarks that we’d come to expect – beautiful piano work, a quick bassline, and choruses that could make an entire room sing along.
19 – Glorious
A bonus track that I’m baffled didn’t make the final cut, “Glorious” isn’t even an official Muse song but it still made it into my top 20.
The spacey instrumentation is at an all-time best, and the rising choruses always give me chills.
18 – Supremecy
I can’t believe Muse have never been asked to do a Bond song.
“Supremecy” is full of drama and cool ideas, with a thumping riff to start The 2nd Law off in style.
17 – Reapers
The best song on Drones, and in all honesty it’s not even close.
“Reapers” is the kind of heavy metal Muse that made me fall in love with the band in the first place, and the death metal outro gives me some serious Absolution vibes.
16 – Take a Bow
One of my favourite opening statements on an album ever.
Muse came out kicking with “Take a Bow”, and proved that this space synth direction suited them down to a tee.
15 – Undisclosed Desires
It took five albums, but eventually Chris Wolstenholme released his slap bass demon on “Undisclosed Desires”.
The fun string instrumentation is what sends this track up a tier for me, and it builds up masterfully to a well-earned conclusion.
14 – Panic Station
The other slap bass song. It’s a close call, but think “Panic Station” is the more fun outing.
It’s Muse at their wackiest and least serious, and the trumpet parts could get anyone dancing along.
13 – We Are Fucking Fucked
This might be a controversial opinion, but “We Are Fucking Fucked” was the only song from the recent album that I was truly impressed with.
It’s a phenomenal album closer, full of intense energy and all the best aspects of Muse. That last minute is the best thing they’ve done in a decade.
I know nobody will agree with this, but “You really believe we can survive all of this? The black vacuum of the universe, it was designed to swallow us whole” is full of amazing imagery, and it’s the best lyrics Matt has come up with in years.
12 – Time is Running Out
Chris Wolstenholme gets his chance to shine and take centre stage on bass, but it’s not even his best work on Absolution.
I used to be mixed on this song due to its broad themes and songwriting, but nowadays I recognise it for the crowd-pleaser that it is.
11 – Plug in Baby
Muse’s most iconic guitar riff, and a chorus that will make you lose your voice from singing so hard.
It’s iconic, it’s electric, and yet “Plug in Baby” doesn’t even make my top 3 for Origin of Symmetry. The competition is just too strong!
10 – Citizen Erased
The Muse fandom practically foams at the mouth whenever “Citizen Erased” is mentioned, and for good reason.
It has some of the heaviest riff and vocal work of any Muse song, but I think it’s the prolonged, serene outro that really makes this unique in their discography.
9 – Bliss
The one-two punch at the start of Origin of Symmetry is phenomenal, and for the longest time I had “Bliss” as my favourite on the album.
It’s one of Matt Bellamy’s favourites, and the arpeggiating synths have become a staple of the Muse sound since.
8 – Map of the Problematique
“Map of the Problematique” has seen a hell of a resurgence in the Muse fandom, with some nowadays even calling it the band’s best song of all.
I don’t quite agree, but the echoing guitar riff sets a tone that only grows from strength to strength as the track goes on.
7 – New Born
The strongest album open in the entire Muse discography, and a song that always gets me pumped for the rest of Origin of Symmetry.
The mysterious, almost whimsical intro is completely left-field, and then “New Born” takes you even more by surprise with the booming guitar tones and riffs. As with a lot of Muse songs, it’s even better live.
6 – Starlight
Stadium rock doesn’t get any more definitive than this.
“Starlight” is the perfect combination of a catchy hook with complex chords, and proves that simple hits can still be clever. Muse have tried to make sequels since, but nothing can compare to the original people-pleaser.
5 – Madness
“Madness” is one of those strange songs that was a huge hit at the time but has seemingly faded into obscurity, and I have no idea why.
The wubwub synths have become the butt of many a joke since, but the melodies and synth groove are second to none. The final chorus with Bellamy’s powerful vocals always gives me goosebumps.
4 – Stockholm Syndrome
Muse’s “Stockholm Syndrome” performance in Glastonbury 2004 is my favourite of all their live performances, but even the original recording has an energy I can’t believe.
It’s their heaviest song by a country mile, and all three band members play their parts so hard I’m sure they had blisters on their fingers by the end of the recording session.
3 – Supermassive Black Hole
I might be wrong, but I think “Supermassive Black Hole” was the first Muse song I ever heard, so it will always have a special place in my heart for that.
Black Holes and Revelations was a new era for the band, and tracks like this opened the door for some of their weirder later work. Speaking of which …
2 – Knights of Cydonia
One of the best album closers ever, and easily the greatest end to a live concert I’ve ever had the pleasure of witnessing.
“Knights of Cydonia” is absolutely bonkers from start to finish, yet somehow it works. It’s the Bohemian Rhapsody of the space age, and yet on some days I think it even eclipses the Queen classic.
1 – Interlude / Hysteria
I mean, what else would it be? “Interlude” is the single greatest track in music history, and deserves to be played on radios for centuries to come.
In all seriousness, “Hysteria” has the best bassline of all time, and the rest of the instruments are sensational too. It’s a song I can always bang my head to, and one I’ll never tire of hearing.
Out of pure curiosity, I calculated the average track placement of each album (all placements added together, divided by the number of tracks on the album). Here are the results – keep in mind that a lower score means the songs on average ranked higher in my list:
- Black Holes and Revelations [32.7 Average Placement]
- Origin of Symmetry [33.2]
- Absolution [38.8]
- The Resistance [44.7]
- Drones [57.4]
- The 2nd Law [59.7]
- Simulation Theory [62.2]
- Will Of The People [67.6]
- Showbiz [69.8]
Funnily enough, that’s exactly the order that I’d rate the albums too. The more you know!
Aaaand that’s my colossal list! You can check out some of my latest blog posts below:
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