Muse - Absolution

ALBUM REVIEW

Long live rock!

I can't help but feel that Muse is one of the bands keeping rock from slipping down the slippery slope of commercialism into oblivion.

There are the inevitable comparisons to early Radiohead. You know what? Early Radiohead kicks a lot of ass, so that's a good thing. As much as I enjoy all of Radiohead's albums, I sort of wish they would feel threatened by Muse, and come back with a really loud album. In the meantime, I'll just gobble this three-piece up like the delicious guilty pleasure they are.

Muse is fronted by singer Matt Bellamy's wonderful voice that can go from falsetto whisper to wail effortlessly. Their music is driven by classical oriented progressions shredded through walls of guitars. There's a very honest and emotional quality to each song, and they seem to put everything they have into each power chord.

This isn't a single influence in the songs on "Absolution" that I don't like. This band has become a bit of a high water mark for me personally, and I recommend their other two studio outings as well. With the volume cranked, and an open mind, let's dive in:

The album starts with an instrumental splash of some military marching drums, and then rolls right into the epic "Apocalypse Please". This song builds into a great crescendo, and gives you a good glimpse into what to expect throughout. It's loud and raucous, and almost too much.

"Time is Running Out" slinks out of the alley with a dirty, fuzzed-up bassline, and that's just for starters. The chorus punches in with mountains of guitar crunch, and the only thing that's strong enough to overpower them is Matt Bellamy's full throttle vocals. He's giving his all on this one, and you reap the benefit.

"Sing For Absolution" takes a slight break in the power angst, and comes across with a drifting vocal delivery along side of some organ that sounds like it's echoing down a haunted hallway.

Now I know what Nigel Tufnel meant when he described his amps going to eleven. "Stockholm Syndrome" starts with the guitars on high, racing along a pseudo-arabic vein, and swirling into space. The bass comes rolling in just as hard, and the drums get the skins pounded off them throughout. Just when you think this song is at it's absolute limit, it manages to crank it up harder than ever. It's hard to choose, but I think this may be my favorite of the album.

We travel next to the land of unplugged ballads, and we meet "Falling Away With You" there. It may not solve Pi, or do your taxes for you, but if you listen to the lyrics you'll find an achingly sweet song of regret.

Now, my theory on the interlude track before "Hysteria" (not to be confused with Def Leppard) is that they want you to hear the amps crying before they explode. When simple waves of feedback and hum give way to the track proper, you're immediately plunged into driving guitars that are racing all the way to the end. The licks here are as sweet as honey, and hit like the stinger's still in there too. Side effects may include dizziness and shortness of breath...

The strings come to visit on "Blackout", and make for one of the more beautiful melancholy songs I've ever heard. Matt uses his voice here like an instrument, at times almost playing the notes like another violin or cello. Truly wonderful stuff, if a bit too short.

We're back on the sweeping rock opera bus with "Butterflies and Hurricanes" that crawls along the underpinning bass plucking, and then rides the pianos and guitars home. There's a distinct focus on making the vocals easy to hear on this one, and with good measure, since it's really an uplifting and positive song.

There's enough attitude in "Small Print" to spread over a whole album. From the palpable sneer to the vocals, to that grinding guitar screaming along taunting you, this song bullies you into liking it while it's stealing your lunch money.

"Endlessly" is proof that Muse can do well even when they're not blaring at you. This subdued number is stripped down with snareless drums, and the pump of an organ's bass pedal. It's a love song, and it's clever enough to fool you into thinking it's tender.

"Thoughts of a Dying Athiest" is just a bit of silence. I suppose you can take from that what you will. I'm not going to chose now to jump into a philosophical discussion about religion. The album's almost over.

"Ruled By Secrecy" lifts us up to sweet heights, carried by a piano and voice. It's only fitting that a baroque opera of an album send us off with this wonderful morsel.

For all of it's sound and fury, this album gains depth in subsequent listenings. There are layers upon layers here (like parfait, I don't know nobody that don't like parfait), and picking out a new riff or melody is half the fun. Although you have to be mindful of the volume, this is also a very good album to listen to via headphones in the dark[act now, and we'll add instant dark - just close your eyes].

I don't know if you have some artists that you have found, and want everyone you know to have a listen to. I do, and Muse is definitely towards the top of my list. I don't even think this is my favorite album of theirs, but it's a great one.

Rating = * * * * out of 5 stars