Love is our Resistance
Today was my first day at work. It went fairly well; I still have some things to memorise, but that shouldn't take too long. I'll get anywhere from $7.50 to $8 (haven't found out yet). It's basically just standing around, talking to customers, ringing them up and filing games in and taking them out. Much better than working at a fucking fast food restaurant. It also looks like I won't have to be overloaded with work, especially since I can't work Tuesdays and Thursdays.
As I've mentioned in my previous entry, I decided to listen to The Resistance a good number of times before reviewing it. Well, I just finished listening to each song at least ten times, so I think it's time for me to review it, track-by-track.
1. Uprising - 6.5/10
The song everyone's heard so far and will likely hear for a couple of months due to its success on the Rock Billboard charts and its eventual performance at the MTV VMAs on Sunday. As many have noted, the song bares a strong resemblance to a number of songs, most notably, Marilyn Manson's cover of "Personal Jesus", The Dr. Who Theme song, and Goldfrapp's "Ooh La La". That aside, the song is somewhat underwhelming. Catchy, yes (particularly the chorus), but it doesn't showcase the band's strengths well at all. The one thing about the song that gets me excited is the soccer-like chants during the guitar solo, which will be a treat for fans to do during a gig. Then again, "Unnatural Selection" features the same thing, and it is a much better song.
2. Resistance - 8/10
The song offers a catchy piano tune, tribal-sounding drums, and a chorus much like "Supermassive Black Hole" and Queen, where both Matt and Chris sing. The chorus along with the bass, I would say, are the highlights of the song. Despite the song title, it's not much of a political song, rather, it's a love song about the relationship between Winston and Julia from George Orwell's 1984 (something that is referenced in other songs on the album). Decent song and an obvious choice for a single.
3. Undisclosed Desires - 9/10
Definitely one of the more ridiculous and unique songs on the album. It features Bellamy on the keytar, Chris playing slap bass, and mix of Dom's drumming and a drum machine, the latter of which is reportedly inspired by Timbaland's beats. It's quite an odd combination, but it works, especially with Matt Bellamy's voice. The lyrics range from slightly cheesy to a bit lustful ("I want to satisfy the undisclosed desires in your heart"), but fit well in this R&B-type song, much like they did in "Supermassive Black Hole".
4. United States of Eurasia (+Collateral Damage) - 9/10
The first song anyone ever heard from the album, via a global-scale scavenger hunt. The song starts of with Matt playing the piano which slowly builds up to a Queen-like "explosion" reminiscent of "We Are Champions" which eventually leads to Eastern European-like strings and very good drums. After a couple more Queen "explosions", the song calms down for "Collateral Damage" as Matt shows off his piano playing skills by playing a piece by Frederic Chopin and a little improvisation building off the piece. The lyrics are the only problem I have with the song; they describe a strategy devised by an aid for Jimmy Carter where he suggested that the US take over Eurasia to secure oil and other resources. This could have translated to much better lyrics than "Our ancient heroes - they are turning into dust" and "These wars, they can't be won (...) Soon we will see there CAN BE ONLY ONE!" All-in-all, another incredibly ridiculous Muse song, something I have no problem with.
5. Guiding Light - 6/10
The weak point in the album. The main problem is that it is a blatant attempt at stadium rock. Because of this, the drums are annoyingly echo-y and slow, which give me the impression of an 80's glam rock band. The guitar, bass, and vocals are sufficient enough to make the track somewhat enjoyable, however. The guitar has an epic Rage Against the Machine feel to it and isn't something you wouldn't expect from Muse. The lyrics show a return to the pessimistic and depressing songwriting of Origin of Symmetry with lines like "There is no guiding light left inside". This obvious step into stadium rock isn't need much at all, since Muse have already shown that they are able to fill a stadium packed with fans with music and make it a success. Why even bother?
6. Unnatural Selection - 8/10
The closest thing to punk Muse has ever done. Starts off with the return of the church organ and chant of the chorus before unleashing into a fast-paced jam between all three members of the band. The lyrics themselves reflect the over tone of the music with lines such "Counter balance this commotion" and "Your justice is annulled". After the third chorus, the song slows down and changes completely and sounds a little bit like early Mars Volta (minus the 20 minute pauses with babies crying), before speeding back up again to finish with one last chant of the chorus. The song itself is enjoyable, but isn't particularly new for Muse, as the structure of the song reminds me of one of their early songs, "Filip".
7. MK Ultra - 9.5/10
A very synthed up space rock song. It is carried by good guitar riff and Bellamy's powerful vocal performance. One of the best songs on the album, it offers a contrast to the rest of the tracks. It concludes with a jam much like the outros Muse play live. To those who don't like the direction Muse has taken in the past two albums, this song would likely please them the most from this album. It's the sort of song we're accustomed Muse to make, but that said, it's a step forward in that direction, rather than a side step.
8. I Belong to You (+Mon Cœur S'ouvre À Ta Voix) - 10/10
It surprises me how much I enjoy this song. It starts off with a simple piano tune and a jazz-like rhythm and melody to it. A very romantic themed song, as evident by the title and lyrics ("I can't find the words to say they're overdue/I've traveled half the world to say 'I Belong to You'"), the latter of which contains many subtle references to previous Muse songs. A mere two minutes in, the song progresses into a completely different middle section that has Bellamy sing a French opera song "Mon Cœur S'ouvre à ta Voix" (song in French, of course) and playing a romantic-style piano, accompanied by an arrangement of strings. This part is nothing short of beautiful as his voice soars and carries the song through this part. After the interlude, the song quickly transitions back to the jazzier style heard in the beginning, accompanied by a good bass clarinet solo, before reciting the chorus once more and ending.
9-11. Exogenesis: Symphony Parts I-III: Overture, Cross-Pollination, Redemption - 10/10 to all
I grouped them together because of the fact that they are considered one song and I feel that to experience the full force of the song, you need to listen to them consecutively. Also, it saves me a lot of time I would have wasted typing two extra reviews. Anyway, let me begin the review in saying that this is the best thing Muse has EVER done. The sheer brilliance of this symphony, I feel, dwarfs the rest of album. Described as having over 40 musicians contribute to the piece, each part begins softly before building up to a climax. In the first part, Matt use his guitar and delivers a performance reminiscent of "Blackout" in Absolution and sings the song almost entirely in falsetto (like he did with "Micro Cuts" and "Supermassive Black Hole", but, unlike them, his voice is much more soothing and calm, which shows the maturing of his voice). The second part begins with Matt playing piano in a style that borders romantic and classical before building up to an epic climax that is accompanied by lyrics that match the tone of desperation and despair ("Spread our codes to the stars/You must rescue us all"). This part ends much like how it began, and eventually leads to the beginning of the next song. The final part of the song and album is characterised by the soothing piano and the lyrics that fit the title and position of the song ("Just let us start it over again [...] It's our last chance to forgive ourselves"), as the song slows to a halt. This symphony, almost 13 minutes in length, is one of the most moving pieces of music I've ever experienced. It exceeded my own expectations (which were extremely high, which tells you something) and made the album, which had its share of inconsistencies and low points, incredibly enjoyable to listen to over and over again.
Is it Muse's best album? As a whole, no. Origin of Symmetry and Absolution are better as a whole, due to they're "completeness" as albums. The Resistance does, however, have its share of very memorable moments and catchy songs that trumps most of those found in Black Holes and Revelations, and is definitely worth a listen through.
Final rating: 8.7/10
If you actually went and read through my review, I applaud you for having the patience of a saint. If you want to listen to The Resistance, you can go here; it's perfectly legal, so no worries. If you enjoy it, you can buy it when it comes out Tuesday, September 15.
As I've mentioned in my previous entry, I decided to listen to The Resistance a good number of times before reviewing it. Well, I just finished listening to each song at least ten times, so I think it's time for me to review it, track-by-track.
1. Uprising - 6.5/10
The song everyone's heard so far and will likely hear for a couple of months due to its success on the Rock Billboard charts and its eventual performance at the MTV VMAs on Sunday. As many have noted, the song bares a strong resemblance to a number of songs, most notably, Marilyn Manson's cover of "Personal Jesus", The Dr. Who Theme song, and Goldfrapp's "Ooh La La". That aside, the song is somewhat underwhelming. Catchy, yes (particularly the chorus), but it doesn't showcase the band's strengths well at all. The one thing about the song that gets me excited is the soccer-like chants during the guitar solo, which will be a treat for fans to do during a gig. Then again, "Unnatural Selection" features the same thing, and it is a much better song.
2. Resistance - 8/10
The song offers a catchy piano tune, tribal-sounding drums, and a chorus much like "Supermassive Black Hole" and Queen, where both Matt and Chris sing. The chorus along with the bass, I would say, are the highlights of the song. Despite the song title, it's not much of a political song, rather, it's a love song about the relationship between Winston and Julia from George Orwell's 1984 (something that is referenced in other songs on the album). Decent song and an obvious choice for a single.
3. Undisclosed Desires - 9/10
Definitely one of the more ridiculous and unique songs on the album. It features Bellamy on the keytar, Chris playing slap bass, and mix of Dom's drumming and a drum machine, the latter of which is reportedly inspired by Timbaland's beats. It's quite an odd combination, but it works, especially with Matt Bellamy's voice. The lyrics range from slightly cheesy to a bit lustful ("I want to satisfy the undisclosed desires in your heart"), but fit well in this R&B-type song, much like they did in "Supermassive Black Hole".
4. United States of Eurasia (+Collateral Damage) - 9/10
The first song anyone ever heard from the album, via a global-scale scavenger hunt. The song starts of with Matt playing the piano which slowly builds up to a Queen-like "explosion" reminiscent of "We Are Champions" which eventually leads to Eastern European-like strings and very good drums. After a couple more Queen "explosions", the song calms down for "Collateral Damage" as Matt shows off his piano playing skills by playing a piece by Frederic Chopin and a little improvisation building off the piece. The lyrics are the only problem I have with the song; they describe a strategy devised by an aid for Jimmy Carter where he suggested that the US take over Eurasia to secure oil and other resources. This could have translated to much better lyrics than "Our ancient heroes - they are turning into dust" and "These wars, they can't be won (...) Soon we will see there CAN BE ONLY ONE!" All-in-all, another incredibly ridiculous Muse song, something I have no problem with.
5. Guiding Light - 6/10
The weak point in the album. The main problem is that it is a blatant attempt at stadium rock. Because of this, the drums are annoyingly echo-y and slow, which give me the impression of an 80's glam rock band. The guitar, bass, and vocals are sufficient enough to make the track somewhat enjoyable, however. The guitar has an epic Rage Against the Machine feel to it and isn't something you wouldn't expect from Muse. The lyrics show a return to the pessimistic and depressing songwriting of Origin of Symmetry with lines like "There is no guiding light left inside". This obvious step into stadium rock isn't need much at all, since Muse have already shown that they are able to fill a stadium packed with fans with music and make it a success. Why even bother?
6. Unnatural Selection - 8/10
The closest thing to punk Muse has ever done. Starts off with the return of the church organ and chant of the chorus before unleashing into a fast-paced jam between all three members of the band. The lyrics themselves reflect the over tone of the music with lines such "Counter balance this commotion" and "Your justice is annulled". After the third chorus, the song slows down and changes completely and sounds a little bit like early Mars Volta (minus the 20 minute pauses with babies crying), before speeding back up again to finish with one last chant of the chorus. The song itself is enjoyable, but isn't particularly new for Muse, as the structure of the song reminds me of one of their early songs, "Filip".
7. MK Ultra - 9.5/10
A very synthed up space rock song. It is carried by good guitar riff and Bellamy's powerful vocal performance. One of the best songs on the album, it offers a contrast to the rest of the tracks. It concludes with a jam much like the outros Muse play live. To those who don't like the direction Muse has taken in the past two albums, this song would likely please them the most from this album. It's the sort of song we're accustomed Muse to make, but that said, it's a step forward in that direction, rather than a side step.
8. I Belong to You (+Mon Cœur S'ouvre À Ta Voix) - 10/10
It surprises me how much I enjoy this song. It starts off with a simple piano tune and a jazz-like rhythm and melody to it. A very romantic themed song, as evident by the title and lyrics ("I can't find the words to say they're overdue/I've traveled half the world to say 'I Belong to You'"), the latter of which contains many subtle references to previous Muse songs. A mere two minutes in, the song progresses into a completely different middle section that has Bellamy sing a French opera song "Mon Cœur S'ouvre à ta Voix" (song in French, of course) and playing a romantic-style piano, accompanied by an arrangement of strings. This part is nothing short of beautiful as his voice soars and carries the song through this part. After the interlude, the song quickly transitions back to the jazzier style heard in the beginning, accompanied by a good bass clarinet solo, before reciting the chorus once more and ending.
9-11. Exogenesis: Symphony Parts I-III: Overture, Cross-Pollination, Redemption - 10/10 to all
I grouped them together because of the fact that they are considered one song and I feel that to experience the full force of the song, you need to listen to them consecutively. Also, it saves me a lot of time I would have wasted typing two extra reviews. Anyway, let me begin the review in saying that this is the best thing Muse has EVER done. The sheer brilliance of this symphony, I feel, dwarfs the rest of album. Described as having over 40 musicians contribute to the piece, each part begins softly before building up to a climax. In the first part, Matt use his guitar and delivers a performance reminiscent of "Blackout" in Absolution and sings the song almost entirely in falsetto (like he did with "Micro Cuts" and "Supermassive Black Hole", but, unlike them, his voice is much more soothing and calm, which shows the maturing of his voice). The second part begins with Matt playing piano in a style that borders romantic and classical before building up to an epic climax that is accompanied by lyrics that match the tone of desperation and despair ("Spread our codes to the stars/You must rescue us all"). This part ends much like how it began, and eventually leads to the beginning of the next song. The final part of the song and album is characterised by the soothing piano and the lyrics that fit the title and position of the song ("Just let us start it over again [...] It's our last chance to forgive ourselves"), as the song slows to a halt. This symphony, almost 13 minutes in length, is one of the most moving pieces of music I've ever experienced. It exceeded my own expectations (which were extremely high, which tells you something) and made the album, which had its share of inconsistencies and low points, incredibly enjoyable to listen to over and over again.
Is it Muse's best album? As a whole, no. Origin of Symmetry and Absolution are better as a whole, due to they're "completeness" as albums. The Resistance does, however, have its share of very memorable moments and catchy songs that trumps most of those found in Black Holes and Revelations, and is definitely worth a listen through.
Final rating: 8.7/10
If you actually went and read through my review, I applaud you for having the patience of a saint. If you want to listen to The Resistance, you can go here; it's perfectly legal, so no worries. If you enjoy it, you can buy it when it comes out Tuesday, September 15.