Absolution: The First Listen

If there's one band that can split opinion right down the middle.... well, it's probably The Darkness. If there's another, it's Muse. Since the release of 'Origin of Symmetry' in 2001 Muse have gone on to be one of the biggest Rock bands from our fair isle and, love them or hate them, there's going to be no avoiding their new album 'Absolution'. Fake DIY's had a listen to what promises to be one of the releases this Autumn, here's our run through.

> Apocalypse Please
Epic. 'Apocalypse Please' is one of the few songs on this album that actually sound like your typical Muse song. A song that bridges the gap between 'Origin of Symmetry' and 'Absolution'.
Key Lyric: "And This Is The End/This Is The End/Of The World"

> Time is Running Out
The first single proper. Electronic bass lines leading into rising guitars, turning into a pop rock stomp along. Much better than anything else they've released since the hights of 'Unintended', and shows exactly what Matt was on about when he started on about 'sounding like Abba'. The video sounds like it might be quite special too.
Key Lyric: "Our Time Is Running It/And Our Time Is Running Out/You Can't Push It Underground/You Can't Stop It Screaming Out"

> Sing for Absolution
A first glimpse of the 'new Muse', 'Sing for Absolution' is easily the most positive, uplifiting song the Teignmouth trio have ever done. A genuinely haunting verse leading into a chorus that threatens to break out of orbit. Much, much more than the sum of its parts, and a song that demands to be heard.
Key Lyric: "Sing For Absolution/I Will Be Singing/Falling From Your Grace"

>Stockholm Syndrome
Even though this download only single sounds much better in the context of the album, it probably ranks amongst the most predictable and weakest on 'Absolution'. It's true that most bands would spend a career trying to reach this kind of level, but 'Stockholm Syndrome' almost feels to be trying to take the enormodome atmospherics just a step too far, especially when compared to the rest of the tracks on the album.
Key Lyric "This Is The Last Time I'll Abandon You/And This Is The Last Time I'll Forget You/I Wish I Could"

>Falling Away With You
A true gem. 'Falling Away With You' is one of a few tracks on the album that threatens to make previous fan fave 'Citizen Erased' a pale memory. A sun kissed guitar line that leads into a building, chugging guitar part, only to give away again. Nobody else is even contemplating music like this.
Key Lyric: "Staying Awake To Chase A Dream/Tasting The Air You're Breathing In/I Hope I Won't Forget A Thing"

>Hysteria
If this isn't a single, we'll eat our hats. Previously played live as 'I Want You Now', 'Hysteria' has evolved into a distorted anthem. The electronic edge of 'Time is Running Out' makes a second appearance, as do the driving bass lines and drum beats. Almost an evolution on the cataclysmic last few minutes of 'Micro Cuts', with the first evidence of Bellamy's obvious desire to be Brian May - a full blown stadium guitar solo.
Key Lyric: "'Cause I Want It Now/I Want It Now/Give Me Your Heart And Your Soul/I'm Not Breaking Down/I'm Breaking Out"

>Blackout
Beautiful. It's the only word to come close to describing 'Blackout'. The sonic equivalent of melting a whole bar of Dairy Milk, the strings (yes, strings) literally drip from what has to be the strongest vocal line of Bellamy's career so far. It's the last thing you'd expect, but you will fall in love with this song - it's inevitable.
Key Lyric: "Don't Kid Yourself/And Don't Fool Yourself/This Life Could Be The Last/And We're Too Young To See"

>Butterflies & Hurricanes
Five minutes of pure adrenaline, only interupted by thirty seconds of trademark Muse piano wankery. The theme tune to any movie of your life. The song that every single person who ever recorded a Bond theme was trying to make. The song that, if it doesnt make you feel like you could take on the world, proves you're just not human. Strings, bass and drums all merge together to send shockwaves straight through the body. OK, so it does start to get a bit cheesy towards the end, but who said thats a bad thing?
Key Lyric: "Best/You've Got To Be The Best/You've Got To Change The World/And Use This Chance To Be Heard/Your Time Is Now"

>Endlessly
'Unintended' mk II? Endlessly may not feature the fragile guitar of it's predecesor, but the effect is just the same. Understated is a word that you wouldnt expect to be used in the same sentence as Muse, but it fits perfectly here. Fantastic.
Key Lyric: "Hopelessly/I'll Love You Endlessly/Hopelessly/I'll Give You Everything/But I Won't Give You Up/I Won't Let You Down/And I Won't Leave You Falling/If The Moment Ever Comes"

>Thoughts of a Dying Athiest
The bass line may shout Placebo at first, but do not fear. One of the more acessible tracks, it's almost sing along pop, but not quite. Destined to bring in a new legion of fans.
Key Lyric: "Scares The Hell Out Of Me/And The End Is All I Can See/And It Scares The Hell Out Of Me/And The End Is All I Can See"

>TSP
Along with 'Stockholm Syndrome', 'TSP' is maybe the only other track that doesnt quite fit. Thats not to say its not a good song, it is - it just feels like it's been put there as bait for the Kerrang kiddies. It's almost certain to be a single, given the production job on it, but it doesnt represent the rest of the album at all. Still, not at all bad.
Key Lyric: "I'm Going All The Way/ And Be My Slave To The Grave/I'm A Priest God Never Paid"

>Rule by Secrecy
We're all used to the haunting tracks that always end Muse albums, although they get nowhere near as much praise as they deserve. This ranks up there with the best of them.
Key Lyric: "Repress And Restrain/Still The Pressure And The Pain/Wash The Blood Off Your Hands/This Time She Won't Understand"

So thats it. It's an album that can't be summed up by its parts, and words alone will never do it justice. Although even opinion here at HQ could be split right down the middle, there's one thing thats sure: Muse have finally decided to start mixing it with the big boys. Thom and Jonny are running scared.

Stephen Ackroyd