Muse innfrir til de grader!!!

Her er an av mange anmeldelser av dette ferske albumet, som egentlig ikke kommer ut før på mandag...

Du kan jo selv gjøre deg opp en mening ved å lytte til albumet. Advarsel: det blir bedre og bedre for hver gjennomlytting! Mesterverk!

The Resistance, reviewed by Natalie Sung...
_______________

“The Resistance” boasts the typical power that Muse never fails to create, alongside new realms of beauty and fresh new tales. The album begins with “Uprising”, an upbeat charge of electricity. It possesses a beat that makes you want to hopscotch...in space. It’s experimental, in the way that Matt sports somewhat glam-pop vocals. The track name very much suits the song itself and its stretching chorus gives motion and movement. Uprising is closely followed by “Resistance”. Its stampeding percussion creates speed. The chorus is very appealing; it repeats the phrase “It could be wrong” which creates an immediate connection to listeners, as its duplication soon prompts us to reiterate those very words. The song is subtly but significantly cryptic. “Undisclosed Desires” succeeds the secretive track. Here is where Muse demonstrates their ability to be so diverse. Undisclosed Desires is a track so different it will throw you off guard. Rhythm and blues (R&B to many) emerges into mind. It gradually evolves into 80s glam-pop, although I half expected there to be some form of rapping. (I’d be game with a bit of Jay-Z.) The stop-start skipping nature to this track accompanied by violin staccatos flaunts attitude and is definitely one of the wow-factors of this album. Subsequent to this, is the great “United States of Eurasia/Collateral Damage”. I say “great” because whether you love or hate this track you will have undoubtedly heard of or taken part in the great global treasure hunt which eventually resulted in the disclosure of this very piece. Its poetic introduction provides an air of romance, quickly interrupted by a Queen-esque electric shock with a good helping of Arabian style phrasing. The song illustrates the world’s obsession with politics as the Arabian phrasing is combined with percussion reminiscent to soldiers marching. Keeping in the theme of politics, the track affixes fairly dramatic military-style orders as “SIA!” is called out. The piece is softly smoothed out with a form of ritardando, transforming it into a more peaceful Nocturne Op. 9 No. 2 (in E flat major) by Chopin with a twist. The piece is layered with eerie echoes of children playing. Although it’s only a subtle difference to Chopin’s original, it creates an entirely contradicting atmosphere. Chopin’s piece is largely romantic, however with the addition of gentle echoes in Muse’s piece, it generates a slightly tragic and haunting ending which is very fitting when you think of the similarity of the song to current political issues we face today. However, the gloomy atmosphere is soon brightened with the feel-good, passion-laden power ballad of “Guiding Light”. The song sounds like the result of 80s love ballads crossed with even more glittering, Queen inspired guitar riffs. The song is so reminiscent to 80s power ballads that when I heard this, I felt an overwhelming desire to stand up, shake my fist high in the air and shout “Yeah!” as if I’d gained victory over something indistinguishable. Again, the title of this track is very appropriate for this song and both exude a feeling of hope. After Guiding Light, “Unnatural Selection” ensues, dominating the album using the might of Bellamy’s vocals with the glam-rock stylings of Brian May. The vocals seem like they’re being preached or spoken. Its quick tempo and crescendo provides strengthening movement, creating a surge of energy and releasing it in the form of a power-chorus. The song is shortly followed by MK Ultra. It samples Muse’s typical rock-funk character and mixes it with what I can only describe as galactic religion. Or like if the Pope betrayed religion and had an affair with an android in a church in some floating space colony! The track itself produces many different characters which keep the listener interested in the story. You will find yourself dancing involuntarily to the next piece “I Belong To You/Mon Coeur S’Ouvre A Ta Voix” as it possesses a more fun, less serious tone. The wispy strings and vintage clarinet boasts romance in a time of tension, in the form of a tango dance. Matt shows off his French language skills by singing some sort of serenade. Unfortunately, although his vocabulary and grammar seems spot on, the general outcome of the serenade seems a little comical in my eyes, as it appears like he may be trying too hard. Nevertheless the piece is definitely enjoyable. At some points of the song I feel entitled to yell “Woo!” After said song, I knew what was coming up. “Exogenesis: Symphony, Part 1 (Overture)” and symphonies part 2 and 3 (Cross-Pollination and Redemption). The overture begins with a soft introduction, very reminiscent to intros in old films. The music graduates, it gives the impression that you are watching the beginning of a romantic thriller. Deep beats mimic the sound of heartbeats and instantaneously draws you in, like the song is living and you are living with it. Instant connection ensures you live with the tale, not just listen to it. The piece radiates beauty from early on. Matt’s falsettos seem to display pain and sadness; the vocals are indecipherable but are not a big issue. The strings are captivating and the rough guitar creates a scene of a painful sunset. Irregularity of the song tells a vague story that you want to understand but can’t. It ends with falling arpeggios which leads nicely onto the “Cross-Pollination”. Cross-Pollination seems like an interlude between the overture and the “Redemption” part of the Exogenesis symphonies, giving a painful story of heartbreak. Such despondency and desperation forces one to bite their lip. Such impact of the song is created in the overture when it forces you to live with it rather than just listen to it. It calls for help, using the lyrics “We are counting on you” and “You must rescue us all.” Again, it ends in falling which then unites both parts 1 and 2 with part 3; “Redemption”. This piece is adorned with swaying strings and piano harmonies drifting as time goes by. It particularly reminds me of the ending of a movie; when a conclusion is made. It ends in a note of hope and light with apologetic chords. I feel that the Exogenesis saga feels like an album in itself. An album that feels more like a summary of a vintage film.

In conclusion, the album boasts many characters. It begins with attitude, some would argue that it is a bit mainstream and some would argue it’s more ambitious. I love the distinct combination of 80s pop/rock with more contemporary R&B because it makes the album seem more unique and more inventive. It’s a powerful album with a lot of movement. The album proves the band is still capable of creating new sounds. It demonstrates a side of Muse that was always there but never heard. There is something I must admit. After absorbing the first couple notes of the intro in Exogenesis: Symphony, Part 1 (Overture), as embarrassed by it as I feel, I felt an overwhelming urge to..... go to the ladies. Not to powder my nose either. This is no lie. You can even ask the other competition winners who were with me at the time. I think I can safely say... ”Muse’s Exogenesis symphonies made me wee.”