The final track Redemption sounds as though could have been influenced by Beethoven’s Moonlight Sonata. Then ending of the album is Muse again experimenting with different genres, this time, a three movement symphony Exogenesis Symphony Part I: Overture, Exogenesis Symphony Part II: Cross-Pollination and Exogenesis Symphony Part III: Redemption which are all about the world being consumed by humans and trying to find life on another planet. Camille Saint-Saëns is the composer of the opera Samson and Delilah so he can be classed as another influence that Muse have used. Bellamy actually sings this part in French, which is certainly something different to the norm. Half way through the song, an excerpt from Samson and Delilah is used. I Belong to You (+Mon Coeur S’Ouvre A Ta Voix) contains again more influences that Muse have used.
This shows that Muse once again is influenced by classical composers, with the band borrowing their tunes and making them more… Muse-like.
The outro piano piece from this song is Chopin’s famous Nocturne No.2 in E-flat Major Op.9 No.2, and is titled Collateral Damage. If you compare it to B&R, imo its a better album, but there are no individual songs as strong as KoC, MoTP, CoD, TaB, SMBH thats why Uprising is the only song from it they systematically play. Accompanied with a full orchestra, the main hook of the song sounds extraordinarily like a tune from the Middle East. The album is amazing, its 2nd group for me with B&R and Simulation Theory (group 1 is OOS and Absolution) but even though its a really enjoyable album, it lacks strong songs. The composer Pyotr Llyich Tchaikovsky was an influence which can be heard through the Russian/Arabic style through United States of Eurasia is composed in. Blondie even acknowledges this by performing the opening riff from Uprising as the intro to playing Call Me live. The electronic hook through the song can be likened to Blondie’s Call Me. The tune itself was inspired from the political events that were occurring at the time, in particular the G20 riots. Muse’s most recognised song, Uprising, is the opening song on the album. The song as a whole mark Muse opening the door to pop music, showing that they can make such songs as well as producing rock tunes. Another very unique feature of this song is the use of the “slap bass” technique that Wolstenholme uses throughout the song. Bellamy had his guitar maker, Hugh Manson, construct him a very unique and custom key-tar, which Bellamy uses in the live performances as well as in the studio. Undisclosed Desires can be seen as a “first of its kind’ song for the band. The album was the first that was produced by Muse themselves, with mixing by Mark Stent, who had had experience with the likes of U2, Depeche Mode and Oasis. Bellamy had actually lived in composer Vincenco Bellinii’s house temporarily through recorded the album, allegedly trying to trace his ghost by playing the piano in the house in the early hours of the morning (Q Magazine, 2007). ( Matt Bellamy Interviewed on Triple J 20070524).The intention for The Resistance was a much longer and piano based work, resulting in a fifty-four minute album which, ends with a three movement symphony. The band wanted to make an album similar to Pink Floyd’s Dark Side of the Moon and features a full orchestra in many of the songs along with the return of llama toenails ( United States of Eurasia) and church organs ( Unnatural Selection).
Then it gets epic and strange, then it becomes contemporary classical music”. Muse wanted “an emphasis on rhythm and contemporary R&B at the start. Bellamy has stated that his main influence for the album as a whole was the classic dystopian novel, 1984, written by George Orwell. Which means it all comes down to having a good poker face after all.Exiting Muse’s heaviest era and entering the more symphonic styled rock music, The Resistance was created in 2009. How could this not make you laugh? Oh sure, the BAND can't act like it's funny, or it wouldn't work. Yesyesyes, that's another song entirely, but the point still stands. And then you find you are straddling a mighty steed, and you're holding a huge shiny broadsword aloft, and the clouds part and the sun comes out, and your rippling hairy torso (boys) or rippling hairy hair (girls) shines under its golden glow like a mirrorball. There's a bit in every good Muse song where the high street you are walking along suddenly becomes an arid plain. In fact, what could be better than a song which, in its po-faced seriousness and howling dread, conjures up something as healthy as an attack of uncontrollable giggles? What better garnish for some hot rocking?Īnd which of us, Muse fan or not, can honestly say that they have NEVER reacted in this way to one of their more preposterous musical moments? Especially if you've been swept up in their grandiose, y'know, grandeur.
As happily as a moustache and Chris the bass player from Muse's face. Forgive the shouting, but it's important in these Glee-ful times to point out that cheese and greatness can exist happily together.
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