The 2nd Law
You’re not supposed to listen to Muse with a straight face.
The guys are rock & roll drama queens, with a sound that evokes everything from Rush’s “2112” to “Jesus Christ Superstar.” They write songs with unwieldy titles like “Exogenesis: Symphony, Pt. 2: Cross-Pollination,” and they play them with brute, symphonic force, never missing an opportunity to stack their vocals into Queen-worthy harmonies or extend an epic guitar solo by an extra measure or two.
The boys reach a new level of pomp with “Survival,” the first single from “The 2nd Law.” Released earlier this year as the official theme song of the 2012 Olympics, “Survival” is colossal and campy, with more flashy pageantry than the opening ceremony itself. “I’m gonna win; I will light the fuse, and I’ll never lose!” howls frontman Matthew Bellamy, while a Gregorian chorus chants its support in the background. He flips into his falsetto for the song’s conclusion, shrieking a stratospheric high note that would make Celine Dion jealous.
The rest of the album is just as high-flown. Like the biggest action movie of the summer, “The 2nd Law” is built to dazzle and daze, and it leans heavily on special effects — an explosive prog-rock interlude here, an ‘80s-influenced wash of keyboards there — to smooth over any holes in the storyline. Even the ballads sound huge, like Meat Loaf played through a Marshall amplifier.
“Madness” is the album’s best moment, thanks to a pulsing, throbbing bass riff that runs beneath the song like a heartbeat. It’s also the album’s most subtle tune, with a slow-building climax that peaks during the final 45 seconds without overshadowing the quiet parts that came before it.
Whenever Muse exhibits that sort of ability to play with dynamics, “The 2nd Law” shines. Most of these songs hit a high point within the first few bars, though, and remain at that sort of sonic plateau until the track ends. Sure, it sounds pretty good but it tends to sound the same, too.
Glad All Over
Perhaps you’ve heard the new Wallflowers single, the one that sounds like a Clash song with Jakob Dylan’s deep, smoke-cured baritone at the helm. It’s called “Reboot the Mission,” and it serves as a nice summary of the Wallflowers’ comeback album, which updates the band’s classic rock & roll with a few danceable twists.View Entire Story
By Elaine Donnelly
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