Muse
The 2nd Law

The 2nd Law by Muse: a Musical Journey into Modernity. Review by Antonio Di Carlo.

Fear, difficulty, and abuse. These are the keywords of the world in crisis that Muse, even in this new album, try to describe through their enchanting sound. But love and hope never die, and you can also feel this in the songs.

The Second Law by Muse. Already the title, which refers to the second law of thermodynamics, the cover image depicting the energy pathways in the neurons of the human body (accompanied by explanatory interviews), and the twelfth track dubstep style "The 2nd Law: Unsustainable" released as a preview complete with a video, foreshadowed, even before the album's release in record stores, that the work would tackle hot topics such as the global economic and financial crisis. The 2nd Law of thermodynamics tells us that in a closed system, entropy increases, and energy dissipates, inexorable as the period of confusion we are going through seems to be: here you have it, the second law by Muse! The colorful cauliflower of neuronal pathways perhaps represents the scientific and technological innovation advancing despite everything, and the video for "The 2nd Law: Unsustainable," released as a preview, showed us rather eloquent images such as a Wall Street trader in panic, various environmental disasters, and youths fleeing towards decaying metropolises, chased by some invisible entity: real scenarios exaggerated to the brink of the apocalyptic by the impressive music of Bellamy & co's band, who for the recording of the album also availed themselves of the precious collaboration of composer David Campbell.

The Album. The first track, Supremacy, was initially written as a soundtrack for the latest 007 - Skyfall movie. An imposing track, in full Muse style, where Bellamy's ever-growing voice duels with his own guitar. It proceeds with Madness, the first single from the album, which is also the first hint that the band had fun playing with electronics. And they succeeded in a peculiar and skillful way: at first, it is impossible not to wonder what that particular sound accompanying the voice is. It's the bass of Chris Wolstenholme, set in synth, and actually used by plucking a tablet. The true chorus of this song is the Brian May-like solo, particularly reminiscent of that in I Want to Break Free. At the end, we will surely think of U2, but without disdain. The third track is a very captivating funk piece in the style of the '80s: played in slap bass technique typical of those years and complete with horns, it is impossible not to move while listening to Panic Station!

From the fourth track onwards, a separate chapter of the album begins, more Muse-like, we would say. From here on, the lyrics are more intense, and the music is more akin to what has made us fall in love with them so far. In fact, Prelude is an almost one-minute instrumental intro that warms up the violins, piano, and choir that will be the supporting columns of a majestic track: Survival (chosen not by chance as the anthem of the 2012 London Olympics). This one is a true anthem to challenge, where Bellamy's voice is urged on by a fantastic choir, giving the idea of a symphonic hundred-meter race.

Follow Me is a space rock track, where perhaps the most die-hard fans start recognizing their beloved Muse; as in Animals, a strong text, a denunciation of the corrupt world and human individualism, accompanied by a 5/4 progressive rock rhythm that helps in reflection. Explorer is a song with a sweet rhythm, a pleasant ballad. Big Freeze sounds like a song by U2. The English band has never made a secret of their love for Bono and co's group. However, it is beautiful and this "emulation" does not disturb.

Save Me and Liquid State are sung by Chris Wolstenholme, the bassist (the latter was also written by him). The latter is punk, with a choral refrain. The first is solemn in tone, a shoegaze, or if you like, more simply an alternative rock that accompanies very well a delicate theme like alcoholism.

The album closes with a long instrumental filled with electronics and sampling, but also with a more classic piano played by the eclectic Matt Bellamy and various violins and choirs of the usual orchestra. Dubstep, electro, and classical thus conclude an innovative and therefore courageous album. Besides the lyrics, the journey into modernity is also there, in having known how to balance technology with real music, "like a classic symphonic orchestra embracing electronic modernity."

Antonio Di Carlo