ABSOLUTION

English Alternative Post-Progressive darlings Muse released this, their third full-length in 2003, just in time for the advent of this very website. It's albums like this, in this scenario, where a judgement has to be made: Is this album's current weighted-average rating from fans of the band from way back, perhaps wearing rose-colored glasses? Has the album truly stood the test of time? I will be reviewing the digital version of this album, with a 15th track, "Fury". One thing I know for sure is that they really do know how to market their albums, fairly consistently, with striking imagery and artwork.

The "Intro" starts off the request of the next, "Apocalypse Please", with the sound of military march. And off we are, with a track that is driving and large. Melodies are fresh and clear, the drums are raucous and bombastic. For me, growing even greater with the introduction of synth, immediate frisson. The drums at certain points have a Ringo drag, but are mostly jazzy Hard Rock-ready. The piano, building to its end, brings a greater, more human element; classic.

What is not at all 'classic' and very much consequential of a post-Radiohead world and, to my ears, a world that is still fresh with new Garage Rock Revival in the air, is the very recognizable "Time is Running Out". Big song, good song, but experimental and progressive only in its soundscape. "Sing for Absolution" is a sort of groovy ballad, with driving bass and bright keys. The fuzzy guitar solo in the second half brings things a bit more aright; good bridge, too.

"Stockholm Syndrome" is basically heavy metal in main riff. The drums eventually come in hotter and rolling. The falsetto vocals of Matthew Bellamy are always an interesting touch to this sort of thing; it just works. Darkness gives way to light, as they use synths and repetition as a tool to morph the emotion of the song [almost like some kind of redirection]. Great use of space. For every moment there is an obvious need for looking back, they have another to prove that they're coming along right on time to even make these sort of fusions indeed possible. I'm a believer [in the broader sense]. In a total different vein is the next, "Falling Away with You", a really beautiful track with some very classic sort of melodies and underlying instrumentation (I say underlying, as the use of guitar effects is really what makes Muse sound the way they do; modernizing even element which would be familiar to older generations, I guess(?)). They really flesh out and beef up sweetness here. Very cool effect; unique.

As with the "Intro", I really don't entirely understand the function of separating the "Interlude" into a separate track... It does little to actually tie things together or truly separate tracks... Just don't understand it, and I don't think it's something that can practically be judged according to my own ratings. What it purports to interlude into is the second highly recognizable, popular track from this release, "Hysteria", a very straight-ahead number. It's heavy, but not much else to me.

"Blackout" is yet another track that strikes me as classic, calling back to crossover classical and Trad Pop of the prior century. Bellamy is a good vocalist, certainly, but he seldom breaks out into greatness or daring. Juxtaposed is "Butterflies and Hurricanes", very Muse and very Post-Prog... Am I to be creeped out?... The bass playing here, at least, is nice. Heaviness returns, but not to the level of 'metal', but more to the sort of thing I would expect from bands in the camp of Queens of the Stone Age. Not super exciting... The guitar, though, if anything, is the highlight, as Bellamy does provide some interest in exploring different tones and stylings. Therefore, almost good.

Back to the low on "Endlessly", although I can positively say I like the way that it's produced, and for the first time in a bit; this here maximalist feels a bit cramped. Even in its limited keyboards and drums at the start, it feels claustrophobic and I wanted to turn my volume down. Just an interesting production choice on such a sweet and personal sounding song [I like it and yet it's a bit too much]. "Thoughts of a Dying Atheist" (I like the title) is relatively straight-ahead, too, and yet it is so quick it's hard not to perk up when it comes on. Good performance, but I'm not impressed by composition: a common theme for this album.

"Rule by Secrecy" is another creeping number, with soft electric keys and soft vocals. Following the halfway mark, neo-classical piano enters in. It's a bit much to be so little... And so finally, we get to the newer(?) final track, "Fury". I guess I have not much to say that I haven't already.

It's Muse... And I'm a little burnt out... True Rate: 2.5/5.0