Big changes in the home 'Muse', the songs learn to dance

Now I had the fortunate opportunity to take the album the last days of excessive under the microscope and what shall I say, 'Muse' have actually changed again, however, changed more than I ever expected it. A change that will meet very ambiguous ears ...

Singer Matthew Bellamy was this in the interviews often enough that the band wanted to evolve consciously in not just loved music recordings and really try something new; We all know that 'Muse' is primarily a live band is.

The same subtle hints to the club sound of 'Franz Ferdinand' were not only just that, a subtle hint (which I actually thought so), but actually describe well the "new" sound of the band; He is much more suitable for clubs, in fact!

The opener 'Take A Bow' this represents quite unmistakably clear, because what you hear as you have to call with best intentions as "Techno". But do not worry, there is still and remains typical 'Muse', it shows mainly due to the very dramatic song structure. I would even say that this song is the most dramatic I've ever heard of them. This drama of ever-increasing vocal octaves and synth waves until exploding conclusion has something very orgasmic ...

Anyway, it's the perfect transition to the probably biggest pop anthem on the album, 'Starlight'. This can produce the band fantastic hymns has long been clear, but here they have really outdone themselves! Reminds you of your song structure to 'Bliss' by the famous 'Origin of Symmetry' album. Fantastic stanzas, still fantasizing POLITICAL chorus ... the song stuck in my head at once fixed and stays there!

Something more rock there is then at the probably already well-known 'Supermassive Black Hole', but only a little, because here is the stoic drum beat in the background and the pretty 'Prince'-esque vocals Bellamy's something really delivered danceable.

For me personally it took a little when the song; after several Hörgängen I can say that I like him, but am not sure if that will last long ...

For this follows with 'Map of the proplematiqué' one of the best songs on the album. I have to admit though, that he was not particularly pleased with the first Hördurchgängen because it very strongly to 'Coldplay' recalls, rather unsuitable for 'Muse'.

Over time, however, he develops into a perfect blend of typical 'Muse'-rock and Brit-pop elements, very unusual but terrific!

Quiet's is then for the first time in 'A Soldier's Poem', a very jazzy (!) Put forward the idea of ​​a story about soldiers on the battlefield (Iraq war says hello).

The radiated "coolness" knows how to please, but is also very short and no more than an intermediate banter.

This can be explained by the fact that it was meant as an intro for the next song 'Invincible', a once again dramatically built anthem with a military rhythm, the high rocks is splendid to a bombastic climax; Strong song!

For all violent Rocker should contrast 'Assassin' his salvation. Especially the intro reminds strongly of 'System of a Down', but just bombastic. Here are then also for the first time really crisp (and extremely brutal!) To hear drum and guitar parts, although he is at the same time produced very danceable, especially in the chorus, a curious mix of departure.

From this point on the album then a little more rock painting, which is also equal to the merciless to himself stomping 'Exo-Politics' proves without even taking off your new dance shoes also gets to the end. Especially the vocals Bellamy knows very pleasing here.

However, another highlight is the superb 'City of Delusion', which begins with an acoustic guitar and congenially high swings to a diverse rock opera of Mexican guitars, violins and trumpets, while bass and drums hold everything together; 'Butterflies & Hurricanes' says hello.

'Hoodoo', however, can thankfully breathe a little back; Very quiet instrumentation and supple vocals hit from the center one last, big, dramatic gasp, until at the end again melancholic ebbs and so perfectly leads to the final song and absolute peak.

'Knights of Cydonia' namely provides the perfect epic conclusion. You can literally find all the items again, both old and new, the 'Muse' account.

The first half could actually run as theme music for a contemporary spaghetti westerns this, the second half is changing, however, to a 70-heavy rock epic for the brand 'Queen'; An extremely mistaken mixture completely entrains a, wow! Convert Here 'Muse' at the peak of her career.

In summary it can be said that the new album probably represents the biggest development to date in 'Muse' and very unusual comes along without fully to sound different.

The most important point here is that the new songs are very dance heavy or electrified and could be played without problems in clubs; The typical bombast, however, remained.

For the rock bolt has been for the most part turned down slightly; Each guitar, piano drum and bass parts are not longer as important as before, act sometimes deliberately distorted and do rather the overall context. So less an album to rock than to dance.

However, I can well imagine that a live rockigerer sound is played and the opposite, the album will appeal to new layers in the club area, very sent me!

So if on the latest album unconditional rock sound of 'Muse' searches, will probably be pretty disappointed, I must say so clearly! But here may clubbers and dance lovers, even those who did not previously unconditional supporters of 'Muse' were happy to try on the album.

I personally, as a 'Muse' fan and simultaneous dance lovers, am of course thrilled and can not wait for the live presentation of the new songs!