Muse
The Resistance

And here I am, the fifth reviewer of this extraordinary masterpiece by one of the greatest Rock Bands of the 2000s (even if their first and already fabulous album dates back to '98). Prefacing that I went on the day of its release to buy it, I have to admit I did so with a certain initial sarcasm, already let down by the super-disappointment of the latest Placebo album Battle for the Sun (for which I did the same, early in the morning in front of FNAC even before it opened).

When I listened to the first track (which, truth be told, I already knew from listening online), Uprising, it vaguely reminded me of a mix between Time is Running Out and Starlight, and consequently, I thought of a continuation of the research the group had done with the two albums from which the aforementioned singles came. After listening to it in full, it must be stated that, paradoxically as it may seem, this album has everything in common and nothing with the previous works. It is a new work, yet you feel in the music that the previous four have left a mark. And altogether it sounds truly "godlike".

A paradoxical and eclectic work is this "The Resistance," as already mentioned above on the fact that it is inspired by the previous as much as different from them. And, even more paradoxically, it is the fact that the variety of styles contained in the tracks (and Bellamy&Co.’s ability to blend them, despite many and very different among them) acts as a cohesive force and makes this a homogeneous and compact work, which can be best enjoyed especially if listened to entirely, without interruptions and/or distractions, concentrating on the music for all 54 minutes and 18 seconds.

The opening is the already mentioned Uprising, which represents probably the most commercial side of the work (I can already see the fans during concerts clapping along in time with the song), with music of electro-rock nature, interspersed with a guitar arpeggio that strongly reminds of the opening of the chorus of Call Me by Blondie and energizes the listener to continue the sound adventure. It's the perfect single, proof of how one can be suitable for commerce while maintaining a very elegant style.

Then it moves to the title track (yes, the “The” is missing, but it doesn't matter), probably one of the less original pieces (but we are talking about masterpieces, so it remains an excellent track, which, if it had appeared in BH&R, would have done great). In particular, in my opinion, the transition between verse and chorus ("It could be wrong, could be wrong" etc.) ruins the song; otherwise, it could well be on par with the others. Then comes Undisclosed Desires, a track in which the Black Holes & Revelations experience is undoubtedly more pronounced, even though a superior, masterful arrangement is noticed (to be clear, Knights of Cydonia remains better, but because we are at indescribable levels there).

United States of Eurasia - followed by a masterful interpretation by Bellamy of a Chopin Nocturne (Nocturne No.2 in E-flat major from Op.9) retitled Collateral Damage - is probably one of the most overrated tracks by the reviews, as it is a (well-executed) attempt at imitation (probably homage?) of Queen (the similarity with Bohemian Rhapsody is great), which fits well into the album's mix and increases both its homogeneity and variety, but as a track in itself it is this and nothing more.

Guiding Light opens the more "alternative rock" part of the album, and is more similar to the earlier works (Origin of Symmetry and, in part, Showbiz). A slow, lush track that opens the doors to one of the true masterpieces of the record, Unnatural Selection, the ultimate expression of the "Muse-style" with an organ and vocal start leading into a guitar solo worthy of New Born, continuing with a captivating chorus, a calmer midsection, and an ending that steadily crescendos back to the main theme. If it becomes a hit, this track could become one of the milestones of alternative rock, with even punk nuances, all with a prodigious style and sound. Undoubtedly inspired by the band's more rock side, expressed in Origin of Symmetry, it has that something extra, what distinguishes masterpieces from great tracks (and the distance is short, it takes little, a drop that however fills the vase enough), that something that was missing in certain OoS pieces. Mk Ultra is another appreciable piece, although undoubtedly not at the level of its predecessor, probably excellent as a single, vaguely reminiscent of the Showbiz style.

I Belong to You superbly closes the "describable" part of the album (then you’ll understand what I mean), followed by an aria from Samson and Delilah, also very well reinterpreted. A great piece, slightly pop-jazz, which keeps the style of the record intact. After this, the listener, already fully concentrated if wanting to savor the entire splendor of the record, must now clear all thoughts from the mind and devote themselves to listening to the indescribable next three tracks (actually, it's just one).

Exogenesis Symphony lasts 11 minutes, but a 10-second interlude can be more tedious. It is indescribable what one can feel by focusing and listening only to what comes out of one’s stereo. A fusion between rock and symphonic classical music, an experiment that Bellamy had in mind for a long time and which elevates him to much more than "the leader of one of the greatest rock bands on the planet." With this rock symphony, articulated in three parts (Overture, Cross Pollination, and Redemption) indeed, he reaches and demonstrates a level of musical culture worthy of a maestro, straddling the rock world and the music world. The Overture of the piece is an absolute masterpiece deserved of citation by classical music critics. Cross Pollination follows, the central part, the heart of the piece, which then closes with Redemption, adopting the melodious and melancholic form that best closes one of the masterpieces of history (I could say of rock, but it's not exclusively about rock), which will most likely never be fully recognized for its worth.

And, it seems incredible, another strength of the album (as mentioned in other reviews) is to anticipate even more fervently a new work. Because by now Muse only knows how to produce wonders (the concerts, promptly sold out after a few months of ticket sales, are also proof of this), pearls that I personally hope will always be remembered for what they are worth. Speaking of concerts, I'll be at the December 4 concert in Turin, along with many other fans. Already excited to see what this masterpiece could be transformed by the live power of Muse, who have always expressed themselves best on stage, perhaps better than in the studio.

Side note, which does not concern this and regards me as a DeBaser(iano): I have been criticized several times, in my 2 previous reviews, for writing things "over the top," both positively and negatively. Well, I admit that maybe I might feel something that others do not feel towards certain music, and want to express it through a review in which others do not find themselves. But I do not want to hear, as happened to me, "Reviews must say something, otherwise there’s always Rolling Stone." The mere fact that I use such extreme tones (and I believe in what I say) is proof that I have much more to say than a magazine that technically describes an album, and that this review and one from Rolling Stone have in common nothing, neither the competence of those who write (I know 1/4 of what a professional reviewer might know) nor the tones used in the description.