The Spinners

The Resistance (Muse, 2009)

In Alternative Rock, British, Electronica, Juno Barbra Streisand on January 9, 2010 at 7:08 am

I am particularly fond of Muse’s albums in a backward phase; that is, from how I listened to them in order of their release. It’s a supposition and tradition that I have gotten used to as they slowly evolve into a commercialized music which is barely imminent in their first two albums.

I’ve heavily pronounced that The Resistance is Muse’s take on bossa nova; but there is nothing peculiar, special, or too deplorable to say in this new record. It is worth another listen, though. Muse’s music did not diminish in its quality to evoke emotional waves and stamp the band’s indubitable substance, but they have tried to lessen their treatment. Sure thing, from the album title itself, it is a collection of the band’s, particularly Matt Bellamy’s, take on the current political agendas and conspiracies. It gives a picturesque, insatiable feeling of how humans are: ingenious in their own destruction. The lyrics, however, if not a tad hypocritical, are not entirely too poetic; it is not in Bellamy’s tendency, after all, to beatify his writings.

Each of the songs heavily represents its critical and provocative meaning. The fulfillment of being lulled by the first five songs is exhaustive in its capacity to incite introspection. “Uprising” does not convincingly do its job to start the album with heavy impression, but it can pique one’s curiosity on how the album progresses. “United States of Eurasia (+ Collateral Damage)” is indicative of the band’s heavy influence on the classical side, with its prevalent ground music that resembles Arabian Nights and Chopin. I have a particular fondness for “Guiding Light” because of its structure and emotional stance that heavily resembles “Invincible”, and unexpectedly reminds me of Pink Floyd. “I Belong To You” is laden with a jazzy complement, tweaked by a French stanza, which gives a salient imprint and a sudden turn amongst the classical nuances and the signature distortions of the band. The last three tracks of the album are dedicated to Bellamy’s pure genius or ostentation. It consists of three instrumental tracks, continuous in their transition and line of story. Interesting and rare as it may be to find an instrumental, let alone three, in a song-filled album, I’m not inclined to put too much appreciation for them. Indeed, suggesting that replacing them with three lyrical songs would be ludicrous; such thought never even occurred to my disconcerted musings. It is only that they did not suit something I was looking forward to while listening to the album at its last stages.

Listening to The Resistance‘s eleven tracks in one sitting is viable; it leaves a contemplative appreciation or indifference. It’s not the ruddiest apple in the basket but it nonetheless captures its deserved attention on a second glance.

– Juno Barbra Streisand

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