Third studio album, eh? Isn’t this where we’re supposed to comment on how the band has ‘matured’, and how they’ve seemingly shunned their rock roots in favour of a sound befitting 70s prog-rock?
Well, it would be, had Muse not already stepped into that by second album Origin of Symmetry. Absolution is really another expansion on that great prog-masquerading-as-indie sound we all heard from them in both of their previous releases. It’s no criticism; Muse pretty much got it right the first time round.
You’d think with an Intro and an Interlude they were going on the concept route, but at least sonically there’s no distinct formula there. It seems more a collection of ideas from the Muse sketchbook rather than a cohesive long-player. Make no mistake, Bellamy’s lyrics are for the large part a gratuitous dystopian rhetoric – Hyteria, Apocalypse Please and Time is Running Out. With those tracks sandwiching the odd emotional love song. Musically, they’ve stepped further in to their world of utterly pompous flamboyance spattered about the album.
The totalitarian marching preamble of Intro launches us into the epic tones of Apocalypse Please; pianos played with more gusto than an 1940s flat-capped cockney pensioner could muster, big wailing harmonies and synthesiser lines pulled straight out of Dark Side of the Moon. Did I say epic? It’s only just over 4 minutes long, and there’s one of their trademarks – grandeur without the epic proportions. Kudos must go to them for the sparse application of the synth – too many bands have been falling into the “Cool man, retro synths!” trap recently and thumbs up that they’ve kept the arpeggiator sequences we heard in earlier tracks like Bliss and Sunburn. Though the point should be made they feature in nearly every song.
Comedy chainsaw riffery bulking tracks Stockholm Syndrome, Hysteria and The Small Print are just superb. Stockholm Syndrome builds upon tracks such as Plug-In Baby and In Your World, but unfortunately doesn’t go any further- as if they’re not willing to tip the bucket any more lest they lose everything.
The notable balance to the heavy side of Absolution comes from two points that could be construed as bucket-tippers – something they haven’t toyed with before. Blackout would best be described as frontman Bellamy’s moment of indulgence. With full-orchestration, pizzicato guitars and ostentatious vocal work it’s a prime offender of the sort of inconsequential rock operatics that would best be left off the album. Endlessly is the obligatory electro-crossover piece, a thoroughly Pro-Tools inflicted track lavished with reverse guitars, ambient pads and subtly applied four-to-the-floor beat. It comes across rather well, if a little out of place. They’ve prodded about this area much better in the past and I highly recommend sourcing the Bliss instrumental B-side entitled The Gallery.
Perhaps the choice of bringing in Rich Costey this time was a concerted effort to take a different direction; if it was, it’s not that evident. Absolution is a good solid album, and doesn’t disappoint on the surface. There are many an inspired moment dotted about the record but as is ever with them, the intros, riffs and breaks are always very promising but then the resulting choruses are frustratingly tame. For a newcomer to Muse, this isn’t the place to start. The previous albums aren’t much different, and they do it better. Although it is succumbing to the cliché, I would have preferred if they had just sat down and done a Kid A or a 13. However, it is still Muse, and fortunately they already willingly had their head up their own backsides – so it’s okay.
Prog Rock lives on! (albeit in a smart suit and without the beard, wand and pointy hat).
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