Muse: The Resistance

Awww yeah. It's here, and it's awesome.

I won't post youtubes for all these, because you should just go buy the album. It's that awesome.

I've only been a Muse fan for around two years now (thanks Zach!), but I already like the direction they're going.

They're categorized as "Epic Rock" in my iTunes, and I can't really think of a different classification for them.

They consistently come out with outrageous and huge-sounding music, and each song sounds like it is made by waaay more than three guys.

"The Resistance" is no different.

With "Black Holes and Revelations," Muse cemented their reputation as a decidedly non-U2 and non-Radiohead band (despite what the idiot iTunes reviewer said). Sure they had the electronic experimental nature that made Radiohead famous (and rightly so, Thom Yorke is a genius), and sure they had a grandiose and over-the-top sound that allowed U2 to stick around so long, but they also had a conspiracy-theory tinged, hard-driving lunacy that Matt Bellamy communicates all too well.

TrackByTrack

1. "Uprising"

I've already reviewed this track in my album preview, but it bears a reanalysis. It's a great album opener, with a pumping bass and drum line and sparse but distinctly Bellamy guitar riff. Muse's standard conspiracy theory lyrics are prevalent, but more accessible. It's quite anthemic, and you can't help but shout the chorus and the "Hey!"s along with the band, feeling quite rebellious and fired up. Great opener, but some may argue correctly that it's a little more poppy than their previous offerings.

Also, the Doctor Who-ish synth is great.

8/10

2. "Resistance"

It starts off very reminiscent of other Muse ballads (eerily similar chords to "Citizen Erased"), with spaced-out synths and piano arpeggios and blistering drums, but then the chorus starts. Matt trades a call-and-response "Could be wrong, could be wrong" exchange with the band, and then breaks into a great "Love is our resistance" hook that is in no way cheesy. It soars, and the listener is easily reminded of Muse classics like "Bliss." Overall, it's a great title track, and breaks away from the normally dark and weird lyrics with hopeful and soaring words. One of the best on the album.

9/10

3. "Undisclosed Desires"

Wow, is this still Muse? It's not something they've ever done before...synths blended with pizzicato strings, along with slap bass and pumping drums. But it works, and lays down a great head-bopping track. The lyrics are okay, and the chorus is better than the verses.

Bellamy's vocal style is not my favorite on this one. Chris Wolstenholme's bass line is one of his best, and certainly makes this track stand out. And the strings mixed with it certainly make it quite catchy. But overall, not one of their best.

6/10

4. "United States of Eurasia"

Ah yes, my first exposure to the album. Still rocks. I reviewed it in my preview, but it's still great. The Queen-ish beginning is really the only hint of Queen on the album, so iTunes reviewers, PUT A SOCK IN IT. The random Arabic jam fits in the middle, and makes this orchestral conspiracy theory a Muse classic. Bellamy's piano skills really shine on this one, as does his orchestra-arranging skills, which certainly come into play later in the album.

Great song.

7/10

5. "Guiding Light"

Despite having the name of a bad soap opera, it's still a good tune. Great opening 80's drum riff from Dominic Howard, one of the most underrated drummers out there today. The synths and vocals are very 80s, but with a definite Muse tinge. The guitar riff in the middle is also quite 80s, but with Bellamy's signature heavy fuzz and "sheets of sound" Coltrane-on-guitar arpeggios.

Despite the great musicianship, the song is one of the weaker ones on the album. While catchy, the 80s style gets a little repetitive (there's a reason it went out of style), and the lyrics are forgettable.

Oh well. Can't win em all.

5/10

6. "Unnatural Selection"

Starts with an organ. Heck yes. Huge "Megalomania" church organ sound, straight into a heavy rock "New Born"-style riff. The lyrics are some of the best I've seen from Bellamy, and deal with injustice and the sort of put-downs the ruling class foists upon the underclasses. The guitar work is outstanding, and it's nice and long at 6:55. And it's especially awesome with it's repeated chant "I want the Truth!" at the end, making it an instant anthem for people who distrust media and politicians in today's climate.

With it's unusual beginning, awesome guitar work, and outstanding lyrics, it's one of the best on the album.

10/10

7. "MK Ultra"

The weird title refers to a World War II-era military project on mind-control, and the conspiracy-theory lyrics are in full swing here regarding the same.

I'm not the biggest fan of the synth opening, but I guess it's alright.

The post-chorus delay of Bellamy's "They're breaking through...ooo...ooo..ooo" along with a fuzz guitar and string riff makes the middle of the song the stronger part. The rest is standard Muse heavy-rock style, but the chord progression is unique enough to keep it interesting.

8/10

8. "I Belong To You/Mon Cœur S'ouvre À Ta Voix"

Yes, Matt Bellamy sings in French in this one. Don't ask me why.

The intro is slap/clap with a catchy piano riff that goes into a light drum beat and a weird bass line with some sort of strange effect...I don't know. It's catchy though.

The chord progression is entertaining and reminds me of the early "Showbiz" era stuff. Nice and weird.

Before a piano interlude and French stuff, Bellamy almost mentions the name of his own band, a Muse first.

The French part, which is from an opera I think, actually works well over Bellamy's piano work and then a building epic few chords, when he then sings over a choral synth and some more epicness from the rest of the band.

The ending is what makes this song. It's just Matt and his piano, and then back into the light drum beat and weird bass effect, with Matt playing a bass clarinet solo.

Seriously.

Is there an instrument this guy can't play? He makes the rest of us look bad.

A little too long for the content, but still great.

8.5/10

9, 10, 11. "Exogenesis: Symphony Parts 1, 2 and 3: Overture, Cross-Pollination, and Redemption"

I'm combining the last three because they belong together.

And holy crap.

This is Muse's most ambitious and out-there track they've done yet. It's jaw-dropping.

It starts off with a full orchestra introduction, then has Matt singing in his "Micro Cuts" falsetto.

Powerful chords, great use of synths, and Chris does a great job doing his constant thumping eighth-note bass line in the background (I've never understood how that guy is so good, he's like a human metronome sometimes).

Halfway through, a great guitar solo and lyrical reference to Absolution's "Stockholm Syndrome."

After four minutes that seem like one, the second part starts with a very Rachmaninoff-ish piano part, with eerie string and choral melodies.

The Rachmaninoff-ish-ness continues with great orchestration, and then dies down to only the piano and low strings in a dark waltz.

The lyrics are dark, mysterious, and a little inaccessible. But then again, no one knows what 80% of Coldplay's songs are about and they're one of the biggest bands ever.

Then, halfway through, the guitar comes back with a great vocal backing part, before dying down to just the eerie strings, choir and piano.

After a quick four minutes are up, the third part starts.

The piano part dies, and then quits. It starts again with a mellow waltz melody. It's actually giving me some chills right now. The bass and higher strings gently come in a minute in, adding to the great orchestral feel. Drums start ticking off quarter notes, things start speeding up, and an almost orchestral version of "Bliss" starts, with piano, strings, and light drums and bass. The vocals are restrained, but soar above the strings quite well. Chris and Dom shine as backup vocals (they are severely underrated singers). It falls back to piano and low strings again, and gently ends with a few low digital effects on the piano.

A perfect ending to a great album. The only thing that I find fault with is that it could have been longer.

10/10

They will never again duplicate "Origin of Symmetry" or "Absolution." But they know that and have continued to evolve their sound into the experimental crazy epic rock group they are today.

Awesome album.

8/10 Overall