While Matt might not believe in such crazy theories, his quest for knowledge certainly informs much of the band’s forthcoming album, The Resistance.

Its title, for starters, is the band cocking a snook at consumerism and the mass media’s blanket coverage of global events. Its contents are even less subtle, with Matt screaming “I want the truth,” on Unnatural Selection, while, on MK Ultra, he begs the question “How much deception can you take, how many lies can you make?”

“I suppose it’s about wanting people to wake up,” he says. “But I think that’s happening anyway. With the globalisation effect of the internet, people are more conscious about what’s happening in the world, and what’s being carried out in their name,” he says.

As has come to be expected from the Devon trio, The Resistance, picking up perfectly from their last opus, Black Holes And Revelations, is truly epic in its scale, ambitious in its purpose.

For proof, look no further than the album’s closer; a symphony entitled Exogenesis which comes in three movements – Overture, Cross Pollination and Redemption.

Mention Exogenesis to Matt, and how intense a listening experience it is, and he emits an impish smile. He knows exactly what impression finishing an album with a three-part symphony gives off. And he seems happy to play with, dare we suggest even live up to, the reputation for making bombastic music.

MATT, however, believes it’s all about where you’re approaching Muse’s music from.

“My reference for what is powerful or epic or overblown music comes from the classical genre, rather than popular music,” he explains.

“I’m thinking of things like the soundtrack for 2001: A Space Odyssey, which everyone knows, or composers like Strauss, Berlioz or Carl Orff. That to me is really epic music.

“They all go a hell of a lot further than we do, but I suppose if you compare us to pop or rock acts, then we do go into territory which is emotionally unfamiliar to people who don’t listen to that music.”

Say what you like about Muse – as Matt highlights, their music is almost constantly referred to as overblown, over-the-top or grandiose – but they can never be accused of being pompous.

The band are aware when they touch upon the ridiculous, and never more so than on The Resistance.

Opener and current single Uprising owes more than a nod to the Doctor Who theme, while United States Of Eurasia begins as a lighter-waving piano ballad before transforming into a pounding, operatic melodrama – which is a long-winded way of saying it’s a dead ringer for most of Queen’s back-catalogue.

It’s all done with a tongue planted firmly in the cheek, and helps to relieve unwanted tension, or the sense that Matt and bandmates Dom Howard and Chris Wolstenholme are taking themselves too seriously.

“This was definitely the most fun we’ve had making a record,” says Matt. “The music might be heavy, but the experience of making it was very light-hearted.

“We were making Undisclosed Desires and Chris just started playing slap bass, like some awful 80s funk bassist. It was one of those moments where we looked at each other and just fell about laughing,” he says.

“But then we thought if we were laughing it must be good, or at least entertaining, so we went with it. It ended up being lower in the final mix, though. We don’t want to sound like Level 42.”

* MUSE play the Echo Arena Liverpool on November 5.