As long-time readers should know by now, I love the band Muse. Even though they're huge everywhere in the world except the country I reside, and due to them releasing a song for a Twilight movie soundtrack ("Neutron Star Collision") they've been branded as "uncool" amongst some in the U.S. (psst, they'd been around 14 years prior to that song's release, releasing 5 studio albums in that timeframe, but I digress), they're far and away my favorite all-time group. There are several reasons for this: 1) They're technically brilliant musicians; 2) No album sounds alike; 3) The band transcends genre; 4) They're unafraid of exposing their innermost nerd to the world; 5) Similarly, they're unafraid of tackling controversial subjects, including politics; 6) They always appear to be having fun, never taking themselves too seriously; and 7) You've never seen a concert until you've witnessed a Muse concert. Having said that, here's my unbiased review of their latest album, Simulation Theory. I kid, I kid.
As I just mentioned, no Muse album sounds alike. They're the antithesis of Nickelback in that regard. They've gone from a punkier-rock sound on their debut album, Showbiz, to an almost goth-rock sound on Origin of Symmetry, to more of an alternative-rock sound with Absolution, to a blend of electronica on Black Holes and Revelations, to opera-rock on The Resistance, to dub-step on The 2nd Law, to an epic-rock concept album with Drones, and finally to an '80s-rock record on Simulation Theory.
No matter what one may have thought of the album Drones musically, one couldn't mistake its darkness tonally. With Simulation Theory, the band has appeared to try and balance the dark tone from the previous album with a lighter feel on this one. Granted, many of the themes on this album may not be light on a substantive front, but that juxtaposing the light feel of the music is just one of the interesting pleasures of this album. Yes, I'm strange. What can I say? I'm a big fan of both A Clockwork Orange" and Marilyn Manson, so sue me. In any case, no matter one's musical preferences with regard to the band, Simulation Theory is definitely easier to listen to the whole way through multiple times consecutively than was Drones. Also, like with Drones, the flow on Simulation Theory is excellent. The band has struggled with that at times, especially on The 2nd Law, but have picked things up with regard to flow these past two albums.
Like with most of their records, Simulation Theory comes across as a concept album, basically suggesting that the world around us is nothing more than a computerized simulation. While I haven't delved too deeply into the story just yet, I have a feeling the intended message is, "Electing Trump was a mistake, but he's not going to be president forever. While we fight for a better tomorrow, we need to appreciate the little things of today - to briefly escape reality at times to help us maintain our sanity." Like with a lot of Muse records, while the message may seem dark at times, there's a seeming light at the end of the tunnel upon the album's completion.
Lyrically, this album is a vast improvement upon its two most recent predecessors. Sonically, it's lighter and definitely has a fresh, yet '80s feel to it - heavy with synths, but modernized. From the opening to the closing track, Simulation Theory is arguably the most fun Muse record to date. In conjunction with synths, it employs a heavy dose of electronica. Not only that, but the band delved into hip-hop on this record. Like I said at the outset, Muse transcends genre. Segueing from that, I'm now going to briefly describe each of Simulation Theory's eleven tracks and provide a personal grade for each one, as well as for the album as a whole.
1) "Algorithm" - This song is a grower. Upon first listen, it was probably my 4th favorite track on the album, but now it's my 1st or 2nd. It's an instrumental delight, as singer Matt Bellamy doesn't make his voice heard until approximately a minute and a half into the song. The combination of a strong beat, heavy synths, and an almost creepy robotic-space-like feel make it an unforgettable track. I don't know who ultimately decided, but "Algorithm" was the perfect opener for this album. (10/10)
2) "The Dark Side" - This song has an almost Origin of Symmetry/"Bliss"-feel to it. Heavy with synths and arpeggios, it definitely sounds like old-school Muse. Like with its predecessor, "Algorithm," "The Dark Side" is dark in both tone and sound, flowing perfectly from the opening track. (8.5/10)
3) "Pressure" - Muse switch things up with this fun, sure-fire-live-hit, rocker. It features guitar riffs aplenty, a catchy chorus, and like with "Uprising," some stadium-staying power. Some may find it slightly repetitive upon hearing the final chorus, yet it's short and sweet, so even if that's the case, listeners shouldn't have much of a problem with it. (9.25/10)
4) "Propaganda" - Here's the two-song segment where Muse decide to explore different genres. The robot-spoken-dub-step chorus melds with funky, Prince-esque verses to create this tune. This is experimental Muse through and through. While not my favorite track, it oddly works. "Propaganda" is catchy, rather sexy, and is bound to be released as a single at some point. (7.25/10)
5) "Break It To Me" - This could very well go down as the strangest Muse song I've ever heard. Think Jason Derulo + 30 Seconds to Mars + Will Smith + Justin Timberlake and you may come close to envisioning this track. I honestly respect, even admire Muse for going outside their comfort zone with this song, but while I don't see it as a must-skip track, it's probably my least favorite on the album. (6/10)
6) "Something Human" - Here's the '80s-Toto track on the album. With these descriptions, you're probably wondering, "I thought he said the album flows really well. Will Smith to Toto? How does that flow well?" Listen to it all the way through and you'll be pleasantly surprised. "Something Human" is a light, almost breezy, hopeful track that I didn't much care for upon first listen, but like with a lot of Muse songs, the more I hear it the more I like it. (6.25/10)
7) "Thought Contagion" - I don't understand die-hard Musers' hate for this song. "Thought Contagion" is like a hard rock version of Michael Jackson's "Thriller." Who couldn't love that? Between an eerie guitar riff, a great piano bit, and disturbingly haunting lyrics, I personally love this song. The video is a lot of fun too. Check it out. (9/10)
8) "Get Up and Fight" - I'm not going to lie, I continually looked through the messageboard on Muse's homepage leading up to the release of the new album. When it finally leaked, this was the song which kept getting lambasted by Musers as one of the words tunes the band had ever released. So maybe my opinion of this track was influenced by the negativity leading my expectations to be lowered upon first listening to it. No, while I wouldn't ever call this one of the all-time best Muse songs, it's actually not half-bad. The verses sound rather modern-day pop-rocky, but the chorus is powerful and catchy. It reminds me of the Green Day song "Still Breathing" off their most recent release, Revolution Radio. This may be the most pop-rock song on the album, but for as much as die-hard Musers may hate to admit it, they'll be tapping their feet and singing along to it. (7/10)
9) "Blockades" - This track is classic Muse. It possesses all the elements which have made Muse great and combines them to make "Blockades" its baby. Between a fast, catchy beat, a hard chorus, and the best guitar solo on the album, this has to rank as one of my two favorites off Simulation Theory, along with "Algorithm." (10/10)
10) "Dig Down" - The intro sounds eerily similar to the band's 2012 hit, "Madness," off The 2nd Law. That's where the similarities end, though. While "Madness" includes a decent amount of dub-step and a grand climactic moment toward the song's end, "Dig Down" comes across as more soulful and less epic. If you want to feel a semblance of hope in the post-Trump world, listen to this song. Not my favorite, but still a decent tune. (6.5/10)
11) "The Void" - As "Algorithm" was the perfect album-opener, "The Void" is the perfect album-closer. Featuring a dark sound, yet hopeful message, "The Void"'s "Eternally Missed"-esque beat, hushed Bellamy vocals, solid lyrics, and haunting dub-step toward conclusion, it leaves the listener feeling satisfied, yet wanting more, which was likely Muse's intent. (7.75/10)
Overall score: 87.5/110
Conclusion: Simulation Theory may not go down as the greatest Muse album of all-time, but it's solid nonetheless. There's a little bit of everything on Simulation Theory. From classic Muse to hip-hop Muse to '80s Muse to contemporary Muse, there's a song for seemingly everyone. The album provides a lighter, more fun tone than its immediate predecessor, Drones. There isn't a must-skip track amongst the eleven. Not only that, the change-ups the band threw with Simulation Theory make me incredibly curious in which direction they'll travel with their next effort. My money's on a heavy metal-gospel album. Just joshing. In any case, whether you're an old-school Muser, a new-school one, or are Muse-curious, I'd highly recommend giving Simulation Theory a gander. You won't regret it.
Grade: 4.5/5
My Current Muse Album Rankings
1) Black Holes and Revelations (2006): 5/5
2) Absolution (2003): 4.75/5
3) Simulation Theory (2018): 4.5/5
4) Origin of Symmetry (2001): 4.25/5
5) Drones (2015): 4/5
6) The Resistance (2009): 4/5
7) The 2nd Law (2012): 4/5
8) Showbiz (1999): 3.5/5
As I just mentioned, no Muse album sounds alike. They're the antithesis of Nickelback in that regard. They've gone from a punkier-rock sound on their debut album, Showbiz, to an almost goth-rock sound on Origin of Symmetry, to more of an alternative-rock sound with Absolution, to a blend of electronica on Black Holes and Revelations, to opera-rock on The Resistance, to dub-step on The 2nd Law, to an epic-rock concept album with Drones, and finally to an '80s-rock record on Simulation Theory.
No matter what one may have thought of the album Drones musically, one couldn't mistake its darkness tonally. With Simulation Theory, the band has appeared to try and balance the dark tone from the previous album with a lighter feel on this one. Granted, many of the themes on this album may not be light on a substantive front, but that juxtaposing the light feel of the music is just one of the interesting pleasures of this album. Yes, I'm strange. What can I say? I'm a big fan of both A Clockwork Orange" and Marilyn Manson, so sue me. In any case, no matter one's musical preferences with regard to the band, Simulation Theory is definitely easier to listen to the whole way through multiple times consecutively than was Drones. Also, like with Drones, the flow on Simulation Theory is excellent. The band has struggled with that at times, especially on The 2nd Law, but have picked things up with regard to flow these past two albums.
Like with most of their records, Simulation Theory comes across as a concept album, basically suggesting that the world around us is nothing more than a computerized simulation. While I haven't delved too deeply into the story just yet, I have a feeling the intended message is, "Electing Trump was a mistake, but he's not going to be president forever. While we fight for a better tomorrow, we need to appreciate the little things of today - to briefly escape reality at times to help us maintain our sanity." Like with a lot of Muse records, while the message may seem dark at times, there's a seeming light at the end of the tunnel upon the album's completion.
Lyrically, this album is a vast improvement upon its two most recent predecessors. Sonically, it's lighter and definitely has a fresh, yet '80s feel to it - heavy with synths, but modernized. From the opening to the closing track, Simulation Theory is arguably the most fun Muse record to date. In conjunction with synths, it employs a heavy dose of electronica. Not only that, but the band delved into hip-hop on this record. Like I said at the outset, Muse transcends genre. Segueing from that, I'm now going to briefly describe each of Simulation Theory's eleven tracks and provide a personal grade for each one, as well as for the album as a whole.
1) "Algorithm" - This song is a grower. Upon first listen, it was probably my 4th favorite track on the album, but now it's my 1st or 2nd. It's an instrumental delight, as singer Matt Bellamy doesn't make his voice heard until approximately a minute and a half into the song. The combination of a strong beat, heavy synths, and an almost creepy robotic-space-like feel make it an unforgettable track. I don't know who ultimately decided, but "Algorithm" was the perfect opener for this album. (10/10)
2) "The Dark Side" - This song has an almost Origin of Symmetry/"Bliss"-feel to it. Heavy with synths and arpeggios, it definitely sounds like old-school Muse. Like with its predecessor, "Algorithm," "The Dark Side" is dark in both tone and sound, flowing perfectly from the opening track. (8.5/10)
3) "Pressure" - Muse switch things up with this fun, sure-fire-live-hit, rocker. It features guitar riffs aplenty, a catchy chorus, and like with "Uprising," some stadium-staying power. Some may find it slightly repetitive upon hearing the final chorus, yet it's short and sweet, so even if that's the case, listeners shouldn't have much of a problem with it. (9.25/10)
4) "Propaganda" - Here's the two-song segment where Muse decide to explore different genres. The robot-spoken-dub-step chorus melds with funky, Prince-esque verses to create this tune. This is experimental Muse through and through. While not my favorite track, it oddly works. "Propaganda" is catchy, rather sexy, and is bound to be released as a single at some point. (7.25/10)
5) "Break It To Me" - This could very well go down as the strangest Muse song I've ever heard. Think Jason Derulo + 30 Seconds to Mars + Will Smith + Justin Timberlake and you may come close to envisioning this track. I honestly respect, even admire Muse for going outside their comfort zone with this song, but while I don't see it as a must-skip track, it's probably my least favorite on the album. (6/10)
6) "Something Human" - Here's the '80s-Toto track on the album. With these descriptions, you're probably wondering, "I thought he said the album flows really well. Will Smith to Toto? How does that flow well?" Listen to it all the way through and you'll be pleasantly surprised. "Something Human" is a light, almost breezy, hopeful track that I didn't much care for upon first listen, but like with a lot of Muse songs, the more I hear it the more I like it. (6.25/10)
7) "Thought Contagion" - I don't understand die-hard Musers' hate for this song. "Thought Contagion" is like a hard rock version of Michael Jackson's "Thriller." Who couldn't love that? Between an eerie guitar riff, a great piano bit, and disturbingly haunting lyrics, I personally love this song. The video is a lot of fun too. Check it out. (9/10)
8) "Get Up and Fight" - I'm not going to lie, I continually looked through the messageboard on Muse's homepage leading up to the release of the new album. When it finally leaked, this was the song which kept getting lambasted by Musers as one of the words tunes the band had ever released. So maybe my opinion of this track was influenced by the negativity leading my expectations to be lowered upon first listening to it. No, while I wouldn't ever call this one of the all-time best Muse songs, it's actually not half-bad. The verses sound rather modern-day pop-rocky, but the chorus is powerful and catchy. It reminds me of the Green Day song "Still Breathing" off their most recent release, Revolution Radio. This may be the most pop-rock song on the album, but for as much as die-hard Musers may hate to admit it, they'll be tapping their feet and singing along to it. (7/10)
9) "Blockades" - This track is classic Muse. It possesses all the elements which have made Muse great and combines them to make "Blockades" its baby. Between a fast, catchy beat, a hard chorus, and the best guitar solo on the album, this has to rank as one of my two favorites off Simulation Theory, along with "Algorithm." (10/10)
10) "Dig Down" - The intro sounds eerily similar to the band's 2012 hit, "Madness," off The 2nd Law. That's where the similarities end, though. While "Madness" includes a decent amount of dub-step and a grand climactic moment toward the song's end, "Dig Down" comes across as more soulful and less epic. If you want to feel a semblance of hope in the post-Trump world, listen to this song. Not my favorite, but still a decent tune. (6.5/10)
11) "The Void" - As "Algorithm" was the perfect album-opener, "The Void" is the perfect album-closer. Featuring a dark sound, yet hopeful message, "The Void"'s "Eternally Missed"-esque beat, hushed Bellamy vocals, solid lyrics, and haunting dub-step toward conclusion, it leaves the listener feeling satisfied, yet wanting more, which was likely Muse's intent. (7.75/10)
Overall score: 87.5/110
Conclusion: Simulation Theory may not go down as the greatest Muse album of all-time, but it's solid nonetheless. There's a little bit of everything on Simulation Theory. From classic Muse to hip-hop Muse to '80s Muse to contemporary Muse, there's a song for seemingly everyone. The album provides a lighter, more fun tone than its immediate predecessor, Drones. There isn't a must-skip track amongst the eleven. Not only that, the change-ups the band threw with Simulation Theory make me incredibly curious in which direction they'll travel with their next effort. My money's on a heavy metal-gospel album. Just joshing. In any case, whether you're an old-school Muser, a new-school one, or are Muse-curious, I'd highly recommend giving Simulation Theory a gander. You won't regret it.
Grade: 4.5/5
My Current Muse Album Rankings
1) Black Holes and Revelations (2006): 5/5
2) Absolution (2003): 4.75/5
3) Simulation Theory (2018): 4.5/5
4) Origin of Symmetry (2001): 4.25/5
5) Drones (2015): 4/5
6) The Resistance (2009): 4/5
7) The 2nd Law (2012): 4/5
8) Showbiz (1999): 3.5/5
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