Review Summary: One of Muse’s best albums.
Absolution is a genius moment in Muse’s discography. There is a plethora of tricks to deceive the audience - excessive vibrato is the least subtle magic touch. The singer sounds like he’s forcibly infusing his remaining essence into every note in a last ditch effort to be heard by someone, anyone. He definitely sounds extra, but the theatrical performance is unforgettable. His excessively moody vocals are further emphasized when combined with dramatic piano bits, loud chords played with gusto. The piano is a cheap tactic but hey, everybody likes piano.
The production of Absolution is top-notch. The drums are nice and crisp, and the distorted guitars have a powerful buzz. Songs like Time is Running Out, Stockholm Syndrome, and The Small Print have a deliciously sinister guitar tone. I always thought that Muse are at their best when producing edgy rock, and this album is no exception to the rule. Apocalypse Please and Hysteria are the type of deliciously emotive, visceral rock pieces Muse are great at, with predictably catchy choruses to boot.
Muse have something for everyone, whether it be soft, alternative rock or something much louder. The instrumentation is predictably formatted for the most part (though I didn’t except the practically metal explosion that is Stockholm Syndrome), with intense flairs here and there, be it piano or guitar. Muse stick with their rocking sound (reminiscent of Queen in my opinion), with a handful of less punchy songs to give time for the audience to breathe. The only sadness is that Absolution’s highlights are honestly the only memorable tracks. Softer tracks are much less exciting compared to songs that bring the buzzy guitars and over-the-top singing to the front. Gripes withstanding though, Absolution is a classic album, with solid songs and an iconic vocal performance.
