11.04.2009

PULSE RATING

Muse: The Resistance [2009]

“The pandemonium is in bloom,” Matthew Bellamy warns in the opening track, “The Uprising,” and, right away, the lack of political specificity—i.e., What pandemonium? And against whom?—reeks of bourgeois guilt. Nobody’s saying rock artists, if they wish to be “militant,” should always be as black-and-white as anyone who’s clearly expected to be black-and-white, like, say, Zach de la Rocha of the late, great Rage Against the Machine (or, heck, Bob Marley). The general feeling of suffocation, subjugation, censorship, et cetera dictates the lyrical content of The Resistance, the new outing by British power trio Muse. Musically, there is nothing new to be said about the band—which is not bad at all; I mean, it’s not their fault they peaked early (Origin of Symmetry is evidence enough of Bellamy’s mastery of both piano and guitar, which is apparently backed by classical schooling). Obviously, you won’t hear these guys dishing out Linkin Park songs. On “United States of Eurasia,” you can forgive the collegiate militant stance of “Must we do as we’re told?” because of the soaring changes and four-movement structure. (In short, it’s the rock equivalent of Lego: you can custom-fit it to any issue, political or otherwise.) There is, certainly, much to be desired about Muse—and it all appears in The Resistance: the tasty Queen-worthy harmonies; the requisite guitar-hero soloing, the lilting Jeff Buckley pitches. To be crude about it, it’s forgivable glam for the 2000s. It’s also, in a way, like sing-able metal for the iPod generation. And, speaking of metal, which prides itself with its affinity to classical, there is The Resistance’s coup de grace: the three-part symphony called “Exogenesis” (sub-titled ‘Part 1: Overture,’ ‘Part 2: Cross-Pollination,’ and ‘Part 3: Redemption’), all book-ended by moody keys and strings that could very well score a modern tragedy. After churning out playful cuts off of their previous record Blackholes and Revelations—“Starlight” and “Supermassive Blackhole,” anyone?—the bombast of Muse’s new outing will wash away their old sins (i.e., bad stabs at danceable rock, though, yes, The Resistance’s “Undisclosed Desires” threaten to commit the same dogged larceny). In the accompanying DVD (in the stateside edition, at least), you see a Bellamy going (creatively) amok inside the booth, at one point even directing bassist Chris Wolstenholme how the progression for “Guiding Light” (I think) should be played: mildly slapped, not crunchily picked; he also shadows the orchestral conductress like a micro-managing ninja (are ninjas micro-managers by nature?). Why am I bringing this up? Because, in the context of the-act-of-creation-as-an-act-of-love—incidentally, in the literal sphere, the act of lovemaking also gives cause to creation—the grand orchestrator, Bellamy, remains the dude on top, frozen in a missionary stance that pins down his (creative) lover(s) in the process. Perhaps this submissiveness in arrangement (the rhythm section being a mere accent of the musical theses being forwarded by guitar-and-voice) is what makes Muse a glorious in-the-pocket unit. However, this is why they can never be Nirvana or anyone like that (they’re too self-contained); and which is also why, in every new record, I can almost always hear a veritable “Bohemian Rhapsody” begging to be birthed (arena-rock traditionalism is always at play). It’s all grand and well thought-out, but perhaps, ironically enough, not revolutionary. Nor resistant.  

 

TAGS: Muse

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