In the past few years, music from across the pond (in particular, England) has generally fallen into one of two categories, either being a giant headache or the next best thing. Coldplay reaffirmed their talent with the momentous Viva La Vida, Oasis have officially called it quits (so say those Gallagher brothers…again), and one little alternative rock band has stolen the show. With their fifth and latest record, The Resistance, Muse has been placed permanently on the radar. There’s no fooling around this time, though; these guys really take the cake with their latest effort, and they have quite a few tricks up their sleeves. They seal the deal with their uncanny ability to intertwine the most gorgeous string and piano accompaniments with their usual electronic rock tendencies. The Resistance is Muse’s most mature and beautiful work to date. Prepare to be aurally blown away.
I mean it when I say I have never really been an avid fan of Muse. Granted, I did enjoy their 2006 release, Black Holes and Revelations, but it has really taken this fifth album to catch my ear. To be completely honest, I always felt that Matthew Bellamy’s vocals were a bit too ‘80s soap operaish, and the band’s combined sound just lacked any actual musical talent, creativity, or originality; to me, it was solely keyboards and guitar fuzz. If you want to call that creative, by all means, go ahead. Well, the trio has changed my attitude, and with this album, they have blasted the door wide open against any preconceived notion of their style.
Alright. Let’s be honest; the band’s first single for The Resistance, titled “Uprising” sounds a bit like a weird mash-up between Rob Zombie, Marilyn Manson, and some sort of bizarre 1960’s theatre pop, with Thom Yorke-like vocals going on. Strange, yes. But somehow, it is undeniably catchy. Bellamy’s spooky keyboards against the collaborative efforts of bassist Christopher Wolstenholme and drummer Dominic Howard are so ridiculously bubbly I can almost envision his hips swaying. “They will not control us / we will be victorious!” croons Bellamy on the chorus of “Uprising.” Who and what are these guys fighting against? I have no idea. But, I can say that their uphill battle makes for a catchy single. Give “Unnatural Selection” a listen to hear a similar, synthesized spectacle. If you are looking for a U2-like arena sing-along power ballad, then tune into “Guiding Light.”
Any devout fan of Stephenie Meyer’s Twilight knows about Muse and the important role the band plays in the vampire love saga. The author herself has admitted her love for these brooding Brits. Twilight fans also know that one of the tracks off The Resistance, "I Belong to You (+Mon cœur s'ouvre à ta voix)", is to be featured on the film soundtrack to New Moon (the Twilight sequel). This song is really interesting; it starts out with a hip piano and finger snapping duality. Wolstenholme’s bass is there, somewhere, but sadly, the focus is more on Bellamy’s piano and Howard’s drumming. Bellamy’s vocals are honest and not overpowering (a nice change of pace compared to most of his previous work with Muse), but a bit silly, especially the line, “And she attacks me like a Leo, when my heart is split like Rio.” Theatrically, I could see how that would fit into the movie. "I Belong to You” has that kind of potential, but I might actually expect seeing it on a soundtrack for a Broadway show. And how can we forget the strings and Bellamy’s piano? Throughout the record, the string and piano theme is concurrent and devastatingly effective.
If you are familiar with the classical genre, or even if I have managed to prick your curiosity, then you must hear “United States of Eurasia (+Collateral Damage).” It opens with a rather formal Bellamy on piano, backed by a full string section. Soon enough, though, drums and guitar are added in, creating a frenzied sound. Once you get past the first half of the song, which sounds either like something by Queen or from a Monty Python soundtrack, you are in for a real treat. The last two minutes of the song (“…+Collateral Damage”) consist of Bellamy playing Chopin’s “Nocturne in E flat major, Op. 9, No. 2.” Backed by a delicate string section, this second half of the song is wonderful, and made me appreciate Muse even more.
But that is not all. The last three tracks of the album continue this pattern of song with classical elements. “Exogenesis: Symphony Part One (Overture),” “Exogenesis: Symphony Part Two (Cross-Pollination),” and “Exogenesis: Symphony Part Three (Redemption)” live up to the grand promise of their titles. Prepare to drop that jaw. These tracks are a cross between something you would find on a drama movie soundtrack and something you might hear from Radiohead. Regardless, “Part One (Overture)” sounds like something from the soundtrack of a fantasy epic, “Part Three (Redemption)” is slow but level, and “…Part Two (Cross-Pollination)” is the most energetic and friendly installment, with Bellamy focusing on the upper keys of his piano. But I don’t mind, and I will venture to say that after you listen to it, you won’t mind either.
All in all, The Resistance has changed my opinion of Muse. If you are a fan of their previous work, give the album a chance; you will probably love it. If you are like me, have no fear! Musically, the group has made a step in the right direction. I am pleased that these guys have incorporated some unique elements into their work, especially the classical focus, which is not common these days (nor, is it something that can be pulled off in an effortless fashion). This album has it all; Chopin,Twilight, fancy French singing, Muse’s classic electronic rock guitar and keyboards, and strings. What more could you ask for?
Track List:
1. Uprising (5:05)
2. Resistance (5:47)
3. Undisclosed Desires (3:56)
4. United States Of Eurasia (+Collateral Damage) (5:48)
5. Guiding Light (4:14)
6. Unnatural Selection (6:55)
7. MK Ultra (4:06)
8. I Belong To You (+Mon Cœur S'ouvre à ta Voix) (5:39)
9. Exogenesis: Symphony Part 1 (Overture) (4:19)
10. Exogenesis: Symphony Part 2 (Cross-Pollination) (3:56)
11. Exogenesis: Symphony Part 3 (Redemption) (4:37)
