There is a lot a Muse fan could dislike about The Resistance. Typical Muse fair, such as Chris’s heavy distorted bass lines, and Matt’s falsetto vocals and heavy guitar riffs all take a back seat on this fifth studio album. In their stead is an album that is filled with a swelling orchestra and a more held back simplistic feel despite the addition of some 20 extra instruments. In essence the album feels more simplistic and stripped down despite a more audacious design. This could be the closest Muse has come to a concept album (Apparently they declared before it's release that they were trying new things, so no huge surprises).
Muse is no stranger to songs relying on Matt’s paranoia about aliens, government conspiracies, brainwashing and cover-ups. The Resistance only strives to take this a step forward with Matt stating in the liner notes that many of the songs are based on books such as George Orwell’s 1984. Upon listing to even the first song on the album it’s hard to miss the connection between Muse and an Orwellian universe.
The album opens with their first single, Uprising. The title tells you what you are in for: a heavy rock march with Matt singing about paranoia and preaching that “they will not control us”. This is perhaps the most Muse like song on the entire album. Chris (Bass and vocals) and Dominic (Drums) pound out the heaviest rhythm section of the entire album. Matt’s vocals hold the song together, and only towards the end does his guitar playing show up. His solo is perhaps a bit weaker then normal for him, but it suits the song nicely. While the solo works, it is a shame that he doesn’t push himself for more, since there is so little lead guitar on the rest of the album.
Following up Uprising is the title track, Resistance, which starts off with a string and kettle drum section that could fit into any sci-fi/action movie soundtrack. Eventually the pace picks up and loads up into a song, which Matt based entirely on the love relationship between the two main characters of 1984: Winston and Julia. It’s a strong song, but it could be easy to miss that it was Muse who wrote and performed it.
Undisclosed Desires, the next song on the album is where things get a bit weird. Influenced by modern R’n’B and a bit of David Bowie this song bares almost no resemblance to any Muse outing before it. It starts with plucking strings and a smooth beat mixed with a bit of synth and then really goes no where else, except for some more synth during the chorus. It is perhaps the least Muse like song on the album and as Matt described it, “it is something totally different for the band.”
The next few songs jump all over the musical horizon. The first half of United States of Eurasia, sounds remarkably like Queen’s Bohemian Rhapsody, but then changes quickly to feature a more middle-eastern style of music. It finishes with a Nocturne in E-flat – a rather slow and beautiful classical piano piece. This blends directly into Guiding Light, which starts off like the Killers, ends like U2 and features a Queen style guitar solo.
Perhaps realizing that they may have left behind what could be considered Muse style music, the next song Unnatural Selection returns to a more typical Muse rock sound. However, even this song, which features a lead guitar riff that bears resemblance to New Born, still can’t escape sounding a bit like another band…in this case System of a Down. Mk Ultra, the next track, remains sounding very much like Muse but isn’t exactly memorable. I belong to you (+ Mon Coeur S’ouvre a Ta Voix) is perhaps the most unusual piece on the entire album. Influenced by “silly circus sounds” and Sgt. Peppers, this piece can only be described as Matt and the guys having some fun with a jazz flair. However, before moving on there are two important points about this song that must be made. Firstly, the middle of the song incorporates an aria from the 19th century Opera Samson and Dellah, which is blended into the song seamlessly. Secondly, this is only the second rock song that I know of to incorporate a bass clarinet solo (the first being a song about rocks…).
Muse could have ended the album at this point which would have left the audience with a handful of strong if somewhat un-muse like songs and a very strong desire to go back to listen to either of their last two albums to get their Muse fix. However, the album includes 3 more songs (or in reality 3 parts of the same song). Matt wrote a 3 part symphony which alone makes buying and listening to this album worth it. Exogenesis, which features a story of destruction and redemption, is absolutely beautiful. The base of all three songs is that of a typical orchestra - strings, brass and percussion - but also contains more contemporary instruments, such as electric guitar, bass and haunting vocals. All three pieces include piano sections from classical composers that are blended in perfectly. Even if you don’t like the rest of the album, spend sometime listing to the symphony - You won’t regret it.
The first time I listened to The Resistance I was disappointed. All the elements that had drawn me to Muse were either gone or nearly muted. The second time I listened to it, I started to hear the subtleties of the album. The third time I couldn’t stop listening to it. Sure there are weak songs - Undisclosed Desires for one - but the strong pieces -Uprising, Resistance, and the symphony, Exogenesis - more then make up for them.
After listening to the album more then a dozen times over the last week, I can’t quite help feeling that Muse entered into the making of this album wanting to do something different. Perhaps they wanted to take a break from the heavy rock, or perhaps they just wanted to give the classical elements of their music the front row it deserved. Either way, they have created an album that is both strong and impressive…it just may take a few listens to realize it.
- Far Side
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