Review Summary: Something biblical indeed.
Known now for their bombastic live shows and grandiose musical pieces that often combine operatic elements with electronics, Muse’s beginnings were much humbler. Their debut album
Showbiz was released at the tail end of the 90’s, a time where any British band making alternative rock was unfortunately labelled as a Radiohead-clone. Their follow up,
Origin Of Symmetry, gracefully managed to avoid the dreaded sophomore slump and received acclaim from critics and fans alike, shooting the little band from Devon into the spotlight. When it was time for a new album, the general public and the music press were eager to see what Matt and co would come up with next.
From the moment the grand piano kicks in on “Apocalypse Please”, it’s clear Muse want your attention and they’re going to do everything in their power to get it. The majority of the tracks on
Absolution are tied together conceptually with the theme of the apocalypse and nowhere is this demonstrated more perfectly than in the lyrics of “Apocalypse Please”. You can feel the sheer power and sincerity in Matt’s voice as he spits out lines such as “proclaim eternal victory, come on and change the course of history” like a prophet delivering his message to the masses. It makes for an intense and gripping experience and from there on, Muse are showing the world why they’re one of mainstream rock’s best and most compelling acts.
One of the many highlights comes in the form of “Hysteria”, with its complex bass line and instantly memorable, screeching guitars. Not since “One of My Turns” or “Climbing Up The Walls” (by Pink Floyd and Radiohead, respectively) has there been such an accurate musical representation of what it’s like to truly go off the deep end. From start to finish it’s a thrill ride that never seems to let up. When
Absolution slows things down, it doesn’t kill the pace and in fact keeps things fresh. “Sing For Absolution” is one such song, featuring a soft piano line and an elegant chorus that is much more about taking its time to unravel than assaulting the listener’s senses (even if it does feature an excellent guitar solo towards the climax).
However, the seeds were also being sown for what Muse would come to sound like on their future albums. “Blackout” marked the first time Muse had ever utilised the orchestral elements that would later become a large part of their songs (particularly on
The Resistance). It’s not uncommon in this day and age for a band to use orchestral elements to give a song a more grandiose flavour but for Muse to do it, a band people associated with alternative rock and supposedly trying to emulate the successes of other groups, was seen as bold. “Stockholm Syndrome” sees the band on superb form, working in perfect cohesion to craft what may just be their masterpiece. Chris’ keyboards give the piece an extra layer of complexity and Dominic’s frantic drum work ensures the track never loses its vigour. Matt’s diversity as a vocalist is astounding to hear as he roars on the verses and hits a perfect falsetto on the chorus. If each member wasn’t on top form the wheels could easily fall off but fortunately that never happens and once it’s finished all you want to do is go back and experience it all over again.
It goes without saying that if you’ve never liked Muse or just alternative rock in general,
Absolution most likely won’t do anything for you. While “The Small Print” may have a fun chorus, it just seems less interesting in comparison to the rest of the album. That’s not to say it’s a bad song; it’s just that its simplicity works to its disadvantage and lyrically it’s one of Matt’s duller moments (the cut-throat, soulless nature of the music industry and society in general is something we’ve heard a million times before).
Absolution is fascinating because of how simplistic it seems in comparison to
Black Holes And Revelations and their more recent works, which is strange because it’s still packed to the brim with creative lyricism and intricate bass lines. Perhaps it seems that way because it’s the final Muse album that wouldn’t be diluted with a three part symphonic epic or a two track dubstep odyssey. In any case, nothing will change the fact that
Absolution is an excellent album that deserves to be heard and appreciated- even if you’ve been alienated by Muse’s later work.
