I’ve never been a fan of people who decide whether music is good or not based on popularity. On one end of the spectrum there are those that simply don’t know that any music but commercial popcrap exists, but even worse in my opinion are those who immediately cast a shadow of doubt on music just because it’s popular. Now I’m not talking about the genre “pop”, we all know that top-40 stuff sucks, but it’s just insane to say, as I have heard many times, that an amazing alternative rock band like Muse are “too popular”. That has nothing to do with the fact that their latest release, “The Resistance”, is amazing; popularity and quality are mutually exclusive. Sure it’s not as good as some of their other albums, namely “Absolution” or “Origin of Symmetry”, but it pains me to see people get so caught up in haughty arrogance and independent elitism that they would actually claim that this album sucks.
Frontman Matt Bellamy’s voice is pure heaven. I once asked a friend if he liked Muse and he said “No, because the guy sings in falsetto.” Well… W. T. F. That would be like saying you don’t like Van Gogh because he used a wide paint-brush, or the Eiffel Tower is ugly because of what metal it’s made out of. It’s a style of singing, and not only is it perfectly warranted as a part of Muse’s overall sound, it augments it. He has the ability to bridge the gap between the higher register and the lower seamlessly, something that takes a lot of practice and dedication to the art of singing. And it doesn’t stop with his voice; anyone who has seen them live can attest that his piano and guitar skills are ludicrously good, and on their studio albums the layering of these elements is nothing short of divine.
But hang on, aren’t there more members in the band? Yes, and they are, too, incredibly talented. I especially like Chris Wolstenholme’s bass and always-in-the-background yet never unnoticed backing vocals, and drummer Dominic Howard is simply outstanding. Yet Bellamy’s voice will always be the defining thing about Muse, and on this album it delivers, with soothing, uplifting and soaring timbre, the usual message of love and regret, themes of world unification, disestablishmentarianism (I’m sorry I couldn’t think of a better word), and conspiracy theories.
The album holds together very well, a thoroughly enjoying experience from start to finish, and you wouldn’t expect anything less. I think where some people get their dislike of this album from is that they don’t realise Muse are not a “heavy rock” band. They have always shone on softer tracks like “Falling Down”, “Screenager”, and who could forget “Unintended”. This softness is interwoven very deep in the fabric of the album, probably off-putting newbie Muse fans who expected the slightly harder-edged nature of their previous release, “Black Holes and Revelations”, yet it is done in a gorgeous way, utilising string sections, sweeping pads and lush vocal layering. This is particularly evident in the three-part magnum opus of the album, “Exogenesis Symphony”. Symphony is definitely the right word to use here, although Muse has been known to label their music rather strangely (Bellamy has been cited calling “Supermassive Black Hole” an RnB track).
All in all it’s another Muse album and another winner, simple as that. People will look back on the 00’s and remember Muse as legendary, and fans the world over, myself included, sincerely hope they continue making great music like the luscious, scintillating, operatic and 5 star album that is “The Resistance”.