Though some may still consider them
Radiohead
mimics, obviously
Muse
continues to strike a nerve with their alternative
hard rock
audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in
Absolution
. Frontman
Matt Bellamy
and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of
, a
rock
thunder descended from
Black Sabbath
, and the baroque drama of
Queen
. Longtime producer
John Leckie
sits this one out, and in steps indie ueber-engineer
Rich Costey
. With
Costey
manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because
Bellamy
delivers the same
Thom Yorke
vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from
Freddie Mercury
. With song titles and subject matter fueled by fear of the apocalypse and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a
opera version of the score to
Koyaanisqatsi
, and then there are the occasional spooky moments where funky rhythms mingle with
heavy metal
guitars, suggesting a progressive Italian zombie flick
soundtrack
. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather.
continues to make unrelenting hardcore
art rock
;
is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any
fan craves. ~ Tim DiGravina