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Absolution

Muse

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Album Review

Though some may still consider them Radiohead mimics, obviously Muse continues to strike a nerve with their alternative hard rock audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in Absolution. Frontman Matt Bellamy and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of Radiohead, a rock thunder descended from Black Sabbath, and the baroque drama of Queen. Longtime producer John Leckie sits this one out, and in steps indie über-engineer Rich Costey. With Costey manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because Bellamy delivers the same Thom Yorke vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from Freddie Mercury. With song titles and subject matter fueled by fear of the apocalypse and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a rock opera version of the score to Koyaanisqatsi, and then there are the occasional spooky moments where funky rhythms mingle with heavy metal guitars, suggesting a progressive Italian zombie flick soundtrack. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather. Muse continues to make unrelenting hardcore art rock; Absolution is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any Muse fan craves.

Customer Reviews

Still think this is they're best work!

I was a little late in discovering Muse but once I did, I couldn't get enough of them. For a group of 3, they surely can put out some massive tracks. Up until this point, I'd have to say this is their best album by far! Every track on here is fantastic and just brilliant song writting. These boys have loads of talent...stop comparing them to Radiohead....they've just grown weirder ever since they made OK Computer. That's what I think...just an opinion.

Truly Brilliant

This is how the future of Rock music sounds ...... brilliant.
No other band comes close.

You'll be Hysterical...

...When you hear this album! Muse's ever-morphing and maturing sound truly breaks away from their previously "Radiohead-esque" label. One thing is for certain: Muse is definately not Radiohead. The crisp and well-worded vocals are ridiculous! Hysteria's Drum 'n' Bass lines rock and will amaze you. Even if you don't purchase the complete album, be sure to pick up the essentials: Time is Running Out, Stockholm Syndrome, and Hysteria. After hearing them, I guarantee you'll be back to complete the album! Also be sure to check out "Origin of Symmetry" if you have not already done so.

Biography

Formed: 1997 in Teignmouth, Devon, England

Genre: Alternative

Years Active: '90s, '00s, '10s

Muse's fusion of progressive rock, glam, electronica, and Radiohead-influenced experimentation is crafted by guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard. Bored by the sleepy life provided by their hometown of Teignmouth, Devon, the three British friends began playing music together. They started the first incarnation of their band while only 13 years old, changing the name of the group from Gothic Plague to Fixed Penalty to Rocket Baby Dolls as time...
Full bio

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