Muse-Drones (2015)
Muse-Drones (2015)
“Who controls the past
controls the future. Who controls the present controls the past.”
George Orwell
By: Ghost Writer
The fact
that Robert Mutt Lange is on the mixing board in this new Muse record is a sign
of the timelessness the band is searching for, Lange, a legendary producer
behind hit records by AC/DC, Def Leppard, The Cars and Maroon 5 is a guarantee
that it’s going to be pop, bombastic and outdated.
Muse is not exactly one if my favorite bands, perhaps their lack of definition upsets me, the band obviously has its roots in post punk, but they are not shy of showing their pop instincts and their admiration for bands like Radiohead, sometimes taking things too far, sounding dangerously close sometimes to...Coldplay...
Of course this guys know what they are doing and they manage we to avoid the despicable pop trap Dead Inside opens with larger than life drums and bass, a shiny pop melody that kind of mixes Radiohead post modernism and Def Leppard big arena rock, my only complaint here might be the annoying vocals too close to radio friendly territory.
Dystopian elements, something I really enjoy are present on The manic Psycho with big dissonant guitars and a martial beat close to the glamming wanderings of Marilyn Manson, again, a clever tune, but not close to the perfection one expects from this outstanding musicians, the dreaded Coldplay elements come forward on Mercy, with nearly perfect vocal hooks, big arena chorus and saving powerful guitars, a great sons that we obviously hate to like.
Reapers is a grew chaotic pop tune with amazing guitar wizard, some Prince touches and an incredible deviation into heavy rock courtesy of heavy riffing and Rage Against The Machine like guitar and bass with a powerful feed backing finale, with the RATM returning for The Handler where the Radiohead influence starts showing heavily (Although the Thom Yorke thing is best shown in The Globalist).
Nearly operatic is the effect achieved with The Defector, one can almost note the influence of Freedie Mercury and Queen on what might be the greatest song of this recording full of roaring guitars going from fury to compassion in seconds.
Drones never fully reaches what promised from the beginning, I sense that Mutt Lange production ends up as a big distractor from the music and the band ends up more derivative than ever, losing that spark and definition from earlier record, and even though Muse influences always tend to come out in other records, here, they simply make up a confusing, uneven and handicapped recording, it sounds great, but it just lacks grew cohesive songs.
Muse is not exactly one if my favorite bands, perhaps their lack of definition upsets me, the band obviously has its roots in post punk, but they are not shy of showing their pop instincts and their admiration for bands like Radiohead, sometimes taking things too far, sounding dangerously close sometimes to...Coldplay...
Of course this guys know what they are doing and they manage we to avoid the despicable pop trap Dead Inside opens with larger than life drums and bass, a shiny pop melody that kind of mixes Radiohead post modernism and Def Leppard big arena rock, my only complaint here might be the annoying vocals too close to radio friendly territory.
Dystopian elements, something I really enjoy are present on The manic Psycho with big dissonant guitars and a martial beat close to the glamming wanderings of Marilyn Manson, again, a clever tune, but not close to the perfection one expects from this outstanding musicians, the dreaded Coldplay elements come forward on Mercy, with nearly perfect vocal hooks, big arena chorus and saving powerful guitars, a great sons that we obviously hate to like.
Reapers is a grew chaotic pop tune with amazing guitar wizard, some Prince touches and an incredible deviation into heavy rock courtesy of heavy riffing and Rage Against The Machine like guitar and bass with a powerful feed backing finale, with the RATM returning for The Handler where the Radiohead influence starts showing heavily (Although the Thom Yorke thing is best shown in The Globalist).
Nearly operatic is the effect achieved with The Defector, one can almost note the influence of Freedie Mercury and Queen on what might be the greatest song of this recording full of roaring guitars going from fury to compassion in seconds.
Drones never fully reaches what promised from the beginning, I sense that Mutt Lange production ends up as a big distractor from the music and the band ends up more derivative than ever, losing that spark and definition from earlier record, and even though Muse influences always tend to come out in other records, here, they simply make up a confusing, uneven and handicapped recording, it sounds great, but it just lacks grew cohesive songs.
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