Editor's Choice...
And this time... "The Resistance" - "Muse's" fifth album released on September 11, 2009.
"The Resistance" showcases the British trio’s knack for blending alternative rock with symphonic, electronic, and progressive influences. The album reveals the band's bold ambition, as they dive into themes of dystopia, rebellion, romance, and political unrest, all while experimenting with complex compositions and grandiose production.
A key influence on "The Resistance" is the unmistakable presence of "Queen's" theatrical flair. This influence shines through in "Muse’s" use of operatic harmonies, flamboyant arrangements, and over-the-top layers of instrumentation. From the layered vocals and instruments to the dramatic dynamics, the album pays homage to "Queen’s" grandiose style, particularly in tracks like "United States of Eurasia (+Collateral Damage)". This song builds like a modern-day rock opera, with piano-driven segments and lush orchestration reminiscent of "Queen’s" “Bohemian Rhapsody” meeting Frédéric Chopin. The bombastic, epic structure captures the kind of larger-than-life sound Freddie Mercury and company perfected, with a Brian May guitar sound and operatic vocals. The piano section, which follows "(+Collateral Damage)" is an altered version of Frédéric Chopin's Nocturne in E-flat Major Op. 9 No. 2, performed by Matt Bellamy. It features additional sounds of children playing and warfare, symbolizing the aftermath of political strategizing.
The album’s opener, "Uprising," sets a rebellious tone with its infectious, stomping beat, with a guitar riff similar to "Blondie's" "Call Me". The song was described by frontman Matt Bellamy as a "heavy-rock take on Goldfrapp". The song captures the album’s theme of rebellion against corrupt bankers and politicians, urging people to "take the power back" while enjoying life.
The title track "Resistance," exemplifies "Muse’s" ability to blend rock with symphonic grandeur. The song reflects frontman Matt Bellamy's lyrical themes, particularly the idea that "love is our resistance," inspired by George Orwell's "1984" novel. Bellamy explained that while the political aspects of the novel impacted him, the romance moved him more, portraying love as a form of freedom in a repressive regime. This theme influenced much of the album.
"Muse’s" embrace of theatricality reaches its zenith in the ambitious three-part symphonic suite, "Exogenesis: Symphony". Here, "Muse" boldly embraces classical music, complete with sweeping orchestration, piano-driven melodies, and operatic vocals. While these movements may not be for everyone, they illustrate the band’s willingness to push boundaries and elevate their music to cinematic heights. Again, the band holds a "Queen-inspired" desire to break rock music's boundaries with adventurous forays into various genres, stretching their sonic palette, and crafting a rock symphony that elevates the album to a cinematic level. This final track of the album, tells a sci-fi story about humanity leaving Earth to populate another planet. The symphony, written over several years, blends classical and rock elements. In 2012, songwriter Charles Bollfrass sued "Muse", claiming they stole his idea for a sci-fi rock opera titled "Exogenesis", but "Muse" denied the allegations, calling them baseless.
But "The Resistance" is not only "Queen" influenced. "Guiding Light" is a power ballad that like a number of the tracks on "The Resistance", appears to have been influenced by the love story between Winston Smith and Julia in George Orwell's novel "1984". The intro of "MK Ultra" sounds like a heavy version of "Clocks" by "Coldplay". The title was named after the CIA's alleged mind control program from the 1950s and 1960s. Matt Bellamy's lyrics, influenced by themes of passion surviving oppressive forces, again, echoing George Orwell's "1984", portraying a couple fighting to maintain their relationship under state pressure. Tracks like “Undisclosed Desires” and the first half of "I Belong to You (+Mon Cœur S'ouvre a ta Voix)" show "Muse" experimenting with electronic and pop influences, offering moments of intimacy and groove amid the bombast. Bellamy’s vocal range, from falsettos to impassioned belts, remains one of the album’s highlights, and his guitar work, while sometimes restrained, delivers moments of explosive energy when needed. The second half called "(Mon Cœur S'ouvre a ta Voix)" is borrowed from Camille Saint-Saëns' "Samson and Delilah" opera. Frontman Matt Bellamy sings the final lines of the aria in French. Italian musician Enrico Gabrielli plays the bass clarinet solo on this romantic track, which Bellamy likened to a lighter, 1960s-style song reminiscent of "Sgt. Pepper's" and "Pet Sounds".
"The Resistance" can feel overindulgent at times, particularly in its most grandiose moments. The sheer scale and ambition of some tracks may come off as excessive or overly dramatic, potentially alienating listeners who prefer a more straightforward rock sound. Yet, for fans of "Muse’s" maximalist approach and those who appreciate "Queen’s" influence, this album stands as a bold homage to the theatrical side of rock.
Ultimately, "The Resistance" is a daring and eclectic album that further cements "Muse’s" status as one of the most innovative rock bands of their generation. It blends genres and themes into a cohesive, if sometimes overwhelming, statement of rebellion and love in an uncertain world.
For Listening: Spotify, Apple Music
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