It’s Muse’s most crisply-produced album to date. The slow, symphonic drive on “Part 1 (Overture)” starts it off dramatically while “Part 2 (Cross-Pollination)” mixes in somber orchestration with yet more heart-pounding rock riffs before the post-apocalyptic refrain of “Part 3 (Redemption)” ultimately resolves the entire effort. The album finishes on a three-part symphony “Exogenesis” that totals over twelve minutes and features some of the albums most gripping moments. “I Belong To You (+Mon Coeur S’ouvre A Toi)” runs along a nifty McCartney-esque piano riff while including staggering soft/hard, dramatic interludes. “Guiding Light” features stratospherically sparse percussion, while synth effects slowly build Bellamy’s effort to find inspiration. Musically, The Resistance is stacked with well-polished, but heavy rhythms and sharp guitar riffs while Bellamy’s highly-recognizable voice rises to extraordinary levels. Bellamy seems ready to accept the role of rebel leader, albeit a symbolic one. On “United States Of Eurasia”, Bellamy asks with sheer poignancy, “must we do as we’re told?” that, if nothing else, forces his audience to challenge authority on even the tiniest level. “Resistance” is built on an elegant, gliding verse that explodes into a inspired rock refrain that would reach the highest sections of any stadium. “Uprising” features lyrics like “They will not control us/We will be victorious” over a synth-heavy stomp, which sets the album’s tone early. them” and “find the truth” rhetoric fills The Resistance, as Bellamy hints unspecifically at corruption and ill-gotten power throughout the album. Given the album’s title, The Resistance, and that it beings with a song entitled “Uprising”, it seems Muse are heavily intent on overthrowing someone – if not physically, then psychologically. Utterly bombastic arrangements accompany his pavement-stomping war-cries to make the most ambitious album of the year in terms of establishing a fan-base that could extend beyond the music itself. Designed to inspire fist-pumping and flag-waving, singer Matt Bellamy’s lyrics challenge his audience to consider political, cultural, economic, and personal alienation to motivate disruption of the status quo. They were the first band to play the newly built Wembley Stadium back in 2007, where the 140,000 lucky fans in attendance were treated to the band rising from the middle of the venue, floating acrobatics, giant exploding balloons and of course, a spleen shatteringly powerful set from one of the most excessively theatrical bands working today.Muse’s fifth album is seemingly tailor-made for massive venues. It goes without saying though that fans of the band can expect an ambitious and powerful show from these three sonic wizards as even when making questionable music they alwyas deliver mammoth live shows.
The UK arm has been left to it’s own devices The UK leg will kick off at the Sheffield Arena on November 4th and finish with two nights at London’s 02 Arena. What I’m waiting to see form this next album is whether they’ve reined in all the masturbatory prog indulgences or whether they’ve pulled a Mars Volta and dissapeared so far up their ass we’ll never see them again.Įither way they couldn’t have picked a better time to release the album (other than 20 years ago when people still bought CDs instead of using fucking iTunes), as the tickets to their November UK tour flew out of the box office like a politician when the pub opens, selling out all 85,000 tickets in less than half an hour.
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