There's half-time chest-beating theatrics ready for flashpots and Vegas set design.
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Now a Daydream Nation style knowing "trilogy" this is not. You may cringe at the Pavlov-approved crescendos that surge through "Guiding Light", the sort of thing where you imagine a ProTools preset producers have nicknamed "10,000 People Holding up Bics They Bought Especially for the Concert." And then there's "Exogenesis", the aforementioned "Symphony" in three parts. It's understandable if the Buckley mannerisms and Mercury multi-tracking on "The United States of Eurasia" aren't your cup of tea. So let's take the warm fuzzy bigness of the music at face value. No doubt Bellamy fancies himself some sort of social crusader, but his mush-headed vagueness (like Bono and Chris Martin and just about any Brit frontman operating on this scale) is designed to inspire warm fuzzy feelings of togetherness and resistance rather than offer any ten-point plan to overthrow the emotionally fascist modern world.
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evil (them, the nebulous straight government-corporate nexus) set-up, got it?īut unlike the creepy mass-rally overtones that so bugged early rock critics about music designed to pack civic centers- or thrilled them when it was punk leading in the kids in revolt- you get the sense that Bellamy's lyrics are an outgrowth of wanting to make his music as big and inclusive as possible, rather than any inchoate political impulses. Things break down easily into a "we" (rarely does an "I" creep into Bellamy's songwriting) and a "they." Your age-old, rock-standard good (we, the fans) vs. Bellamy is constantly tossing out mass-shout-along-ready lyrics like "we will be victorious" and "they won't stop breaking us down." Songs get titles like "Uprising" and (natch) "Resistance". It's canny: Leading the uncommitted down a drum machine paved path of catchy 1980s revivalism and straight into the path of an army of kids straddling the gap between entry-level classical and "Headbanger's Ball".Īnd "army" is right: Unity in the face of faceless post-industrial society grinding down beautiful stuff like love and friendship is perhaps Muse's great theme. Only then does The Resistance shift into the sort of fist-pumping, kitchen-sink prog you were probably expecting. It then segues into a middle section of hard (but not too hard) rock, nodding in the direction of grottier bands like Queens of the Stone Age or System of a Down without stripping away the sparkle. it opens with the most "pop" sequence of the band's career, a three-song sequence aping the stadium-grade synth-rock of Depeche Mode at their crossover height. Jumped ship yet?įor the wary or outright dismissive, however, The Resistance is also a very smartly sequenced album. It's the kind of all-caps, no half-stepping ART-ROCK that closes with a three-part mini-epic so shameless about its own classic rock bigness that it's billed as a "Symphony", complete with "Overture". If the The Resistance is "about" anything, aside from the conceptual malarkey encoded in the lyrics, it's about mastery, ego-security, etc. Throughout The Resistance, frontman Matt Bellamy is ready and willing to foreground his chops, be it tickling the ivories, hopping octaves, or tossing out increasingly tasteful solos.
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Do not write off Muse, because I highly doubt they will disappoint.By contrast, you never get the sense that Muse are anything less than in total control of their "difficult" music at all times. So relax, wait for the album as a whole, and stop being so upset this isn't Hysteria part 2 or Stockholm Resistance. So in a sense, we really know nothing about the album, where it goes, what happens. And all we have for a clue between is USoE, which was a bit of a comedic light hearted approach to a more serious problem, that being the world. That fact is this album starts with an British Prog Pop song, and then ends with a supposedly chaotic and off the wall symphony. It would be like judging OoS off of just Feeling Good and Screenager, you just can't. What I don't get is why people are complaining about the album when we only have two songs to go by. This album should be interesting to listen to from start to end. I have a feeling a lot of people who don't like Uprising or USoE will not like Undisclosed Desires either because Matt doesn't play guitar or piano in the song and the only instruments are drum machines, slap bass, and "Timbaland inspired" vocals.