Muse

Mr.S wrote: »

tbh it just sounds like an intro to the song, you can't base anything on it really.

Daysha wrote: »

I have pictures in my head of a few thousand people shouting "Oi" at the top of the voices in the O2 next November now

1- UPRISING (5′02)
If the album was announced as being particularly symphonic, Muse is playing with us as this stunning opening, the exact opposite of the direction expected. It starts with an electronic buzz, quickly followed by a low saturated fat and a hammered rhythm on the toms. The feeling tends to be closer to Depeche Mode, just how “Map Of The Problematique” on “Black Holes & Revelations”, but with a dynamic almost at the level of heavy guitar riffs. The title is not dancing, but he keeps it your own sad and melancholy timbre of Matthew Bellamy. Note the presence of a few choruses of “hey” chanted like a Marilyn Manson of the great days. This is the first single extract from the official record.

2- RESISTANCE (5′46)
Here is the eponymous song, angular piece of the album begins in an atmosphere of calm generated by a few layers of soft synth. Then tumbling piano melody accompanied by a powerful rotating drum that slowly turns into a deafening march rhythmic way. The Muse 2009 vintage seems to have the desire to surprise and that there seemed to be quickly identified is fast, éructant pre-chorus baroque-style way Queen “Bohemian Rhapsody”. And while we thought we hear a predictable final climb, the trio prefers to play calm and keep a few cartridges in reserve …

3- UNDISCLOSED DESIRES (3′56)
Return to a grain and a few synthetic sounds R’n'B necessarily referring to the ambitious first single from the previous album, “Supermassive Black Hole”. Except that here, the gang chose to add some strings and a delicious touch new-wave. One of the potential singles surprising “Resistance.” Here, Muse demonstrates skill he knows perfectly handle a wide range of sounds, mixing beautifully time and delivering an unlikely hybrid of R’n'B and modern new-wave retro with an inventive use of the keyboard.

4- UNITED STATES OF EURASIA (5′47)
The continuous alternation of sounds and synthetic aspect is rejected and organic instruments. This ballad in a Muse typically begins with a barrage of strings, directly affecting the mood of sobriety and an indecent act in any event, leaving only a sadness reflected communicative and a grayish hue. We still think of Queen with a new pre-chorus raising the specter of “Bohemian Rhapsody” … Once again, the group that we thought that we understood to be playing around in ass for our greatest pleasure. A situation that verges on the genius of a break anthologie built from a succession of grandiose chorus, creating a climate of extreme decadence before we plunge into a final echoing the greatest classical composers. One can imagine then Matthew, alone in a large living room Italian Renaissance manner, playing the melody on a beautiful grand piano.

5- GUIDING LIGHT (4′13)
Here we are faced with the battery and slow overwhelming Dominic Howard, embellished with a few layers of vaporous synth bass and a full. Lighting with a few arpeggios before saving way U2 lead on a wild guitar solo, almost primary. Perhaps one of the weakest tracks on the album, even if it is pleasant listening.

6- UNNATURAL SELECTION (6′54)
This time it’s a church organ, which we welcome. The voice is under-mixed and rubs it to a song near the Opera. The calm before the storm as this apparent peace fades dramatically to give way to thunderous rhythm and a great heavy riff. The voice is also more nervous, even if it is never the appeal of violence and keep a permanent melody. “Unnatural Selection” is the kind of piece effective and straight in your face like the first two albums the group … to change completely unpredictable weather that occurs after 3mn30 rage. Then we plunge into a heavy cabaret / jazz / psyche supported by an incredible Hammond organ in the sixties. Then we witness the return of sickly rock and a transition-based vocal harmonies made in Queen (yes, again).

7- MK ULTRA (4′06) 7
Here we find the 80’s feeling that emerges from “Uprising” and “Undisclosed Desires.” Dominic introduces a game by hitting his martial toms and Matthew handles his guitar like a synthesizer. The tempo is quick and driven by percussion and implacable monolithic. The melody is entêtante and Bellamy seems to be possessed by his words. We particularly enjoyed the final convulsion, noisy setting. Simple, classic, but effective.

8- I BELONG TO YOU / MON CŒUR S’OUVRE À TA VOIX (5′21)
Last under “normal” before the final symphony. “I Belong To You” opens with a clever introduction to piano playing mode saloon, which is just put a battery and mechanical outrageously modern. This is certainly the least oppressive piece of the album, thus aerating the whole. A break in the heart of appeal confirms the increasingly strong for Matthew Bellamy vis-à-vis a rock opera that also baroque opera. Then the attack common fatal duo vocals / piano, which inevitably enter the piece in a tragedy which we will never really …

9- EXOGENESIS : SYMPHONY PART I (4′18)
And finally here is the long-awaited final piece, a symphony of 15 minutes split into 3 movements. This first chapter begins in a purely classical, a moment dark and epic that does not deny the composer John Williams. There by a merger between jubilant games played by a symphony orchestra and modern elements (including drum). A spectacular musical shock shattering all musical barriers.

10- EXOGENESIS : SYMPHONY PART II (3′56)
Piano, grand architect of this unlikely symphony, continues his work here, making the link with the emergence of a more rock, almost progressive. A successful transition from classical to modern.

11- EXOGENESIS : SYMPHONY PART III (4′37)
Enchantresses few strings trying to calm the game, but the rise reached here his point of no return. The tempo accelerates inevitably, taking the first battery in its wake, leading to a rise demented lyrics … which stops abruptly before being transformed into a quiet and sad melody of piano. A symphony terribly ambitious gives us perhaps a clue about the future of the group, namely a hybrid orientation even closer to classical music …
TOTAL RUNNING TIME: 51 Minutes & 56 Seconds