| Product Summary | | Label: Warner/reprise/maverick | | UPC: 00825646874347 | | Release Date: 9/15/2009 | | Buy.com Sku: 211901567 | | Item#: M4QWPG | | Buy.com Sales Rank: 25050 | Format:  CD |
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| Song Listing |  |
Disc 1
| | Song Title | Sample | | 1. Uprising ~ Muse (UK) |  | | 2. Resistance ~ Muse (UK) | | | 3. Undisclosed Desires ~ Muse (UK) | | | 4. United States Of Eurasia/Collateral Damage - (featuring Matthew Bellamy) ~ Muse (UK) | | | 5. Guiding Light ~ Muse (UK) | | | 6. Unnatural Selection ~ Muse (UK) | | | 7. MK Ultra ~ Muse (UK) | | | 8. I Belong to You/Mon Cour S'ouvre A Ta Voix ~ Muse (UK) | | | 9. Esogenesis: Symphony Part 1: Overture ~ Muse (UK) | | | 10. Esogenesis: Symphony Part 2: Cross-Pollination ~ Muse (UK) | | | 11. Esogenesis: Symphony Part 3: Redemption ~ Muse (UK) | |
| Track Listing
1. Uprising
2. Resistance
3. Undisclosed Desires
4. United States of Eurasia (+Collateral Damage)
5. Guiding Light
6. Unnatural Selection
7. MK ULTRA
8. I Belong To You (+Mon C?ur S'ouvre ? Ta Voix)
9. Exogenesis: Symphony Part I (Overture)
10. Exogenesis: Symphony Part II (Cross Pollination)
11. Exogenesis: Symphony Part III (Redemption)
"The Resistance, shows growth from the band's previous releases and proves that it's primed for a global musical takeover." Evan C. Jones, Billboard
"The Resistance, the crispest Muse album yet, is unapologetically and ambitiously beautiful." Jon Caramanica, The New York Times
| | Album Notes and Credits |
Notes & Personnel Info |  | Personnel: Matthew Bellamy (vocals, guitar, keyboards, synthesizer, programming); Chris Wolstenholme (vocals); Edoardo de Angelis (violin); Enrico Gabrielli (bass clarinet); Dominic Howard (synthesizer, drums, percussion, programming); Paul Reeve (sound effects). | | Audio Mixer: Mark "Spike" Stent. | | Photographer: Danny Clinch. | | With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. THE RESISTANCE is most certainly extravagant -- there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" -- but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song. Presiding over the mix is frontman Matthew Bellamy, a man who seemingly aspires to be both Brian May and Freddie Mercury. He plays guitar, pounds the piano, and composes the album's orchestral parts, but his strongest asset is his voice, a sky-scraping tenor dripping with so much emotion that it's almost lewd. He croons, whispers, annunciates, and belts with confidence, a combination that makes him one of England's most dazzling singers in recent memory. And since a virtual mountain of voices is better than a single voice (remember: bigger is better), Bellamy also multi-tracks himself, creating towering stacks of harmonies during songs like "Resistance," "Undisclosed Desires," and the colossal "United States of Eurasia (??? Damage)." | | With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. The Resistance is most certainly extravagant -- there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" -- but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song. Presiding over the mix is frontman Matthew Bellamy, a man who seemingly aspires to be both Brian May and Freddie Mercury. He plays guitar, pounds the piano, and composes the album's orchestral parts, but his strongest asset is his voice, a sky-scraping tenor dripping with so much emotion that it's almost lewd. He croons, whispers, annunciates, and belts with confidence, a combination that makes him one of England's most dazzling singers in recent memory. And since a virtual mountain of voices is better than a single voice (remember: bigger is better), Bellamy also multi-tracks himself, creating towering stacks of harmonies during songs like "Resistance," "Undisclosed Desires," and the colossal "United States of Eurasia (??? Damage)." | | The band's tendency to pile excess upon excess doesn't always yield strong results, and there's a fine line between, say, the anthemic beauty of "Guiding Light" and the bizarre Timbaland-meets-Depeche Mode ambiance of "Undisclosed Desires." Even so, The Resistance is by and large a fantastic record, culminating in a three-song suite that finds the group jumping from classical movements to guitar fretwork to sweeping, swaggering, operatic rock. Those songs occupy the final 16 minutes of the disc, and while they'd likely make a bigger impact earlier in the track list, their mere presence indicates that Muse is finally growing comfortable with its own aspirations. Black Holes and Revelations may be a more commercial record, but The Resistance is Muse's most realized effort to date. ~ Andrew Leahey |
Producer: Muse |
Engineer: Adrian Bushby |
Musical Guests | | Matthew Bellamy |
| Entertainment Reviews
 | Muse - The Resistance - CD Review By: Mark Saleski - Blogcritics.org Reviews Published on: 10/1/2009 1:32 AM | | When I first heard Muse (only going back so far as 2004's Absolution), I thought they sounded an awful lot like Radiohead with nods to both Nirvana and Coldplay. Then came Black Holes & Revelations, still with echoes of Thom Yorke and Queen by way of Phillip Glass. Yes, I said Phillip Glass. Gee, all of these names being tossed out. Shouldn't it be time to pull that tired reviewer cliché 'derivative' out of the reviewer bag of lazy? I suppose so, but in this case I hear a lot of what Muse does as being in tribute to their influences....read the full review |
| | Compilation Appearances |
| | Associated Artists and Works |
| | Technical Info | | Release Date : 09/15/2009 | | Original Release Date : 2009 | | Catalog ID : 521130 | | Label : Warner Bros. Records (Record Label) | | Number of Discs : 1 | | Studio/Live : Studio | | Mono/Stereo : Stereo | | SPAR Code : n/a | | UPC : 00825646874347 |
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| | Professional Reviews | | Rolling Stone (p.103)
- 3 stars out of 5 -- "Songs like the industrial-flavored 'Uprising' prove again that Muse know how to whip up an almighty roar."Entertainment Weekly (p.129)
- "The album's best track, 'Uprising,' is a simple slice of glam rock..." -- Grade: B Billboard (p.57)
- "The three-part rock symphony 'Exogenesis' closes the album, combining elements of piano and the band's dramatic flair." Q (Magazine)
(p.102)
- 4 stars out of 5 -- "[T]heir new adventures in sci-fi hi-fi are, for the most part, hugely impressive. 'Uprising' is a brilliantly addictive opener..." AllMusicGuide.com 8 of 10
With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. The Resistance is most certainly extravagant -- there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" -- but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song. Presiding over the mix is frontman Matthew Bellamy, a man who seemingly aspires to be both Brian May and Freddie Mercury. He plays guitar, pounds the piano, and composes the album's orchestral parts, but his strongest asset is his voice, a sky-scraping tenor dripping with so much emotion that it's almost lewd. He croons, whispers, annunciates, and belts with confidence, a combination that makes him one of England's most dazzling singers in recent memory. And since a virtual mountain of voices is better than a single voice (remember: bigger is better), Bellamy also multi-tracks himself, creating towering stacks of harmonies during songs like "Resistance," "Undisclosed Desires," and the colossal "United States of Eurasia (+Collateral Damage)."...The band's tendency to pile excess upon excess doesn't always yield strong results, and there's a fine line between, say, the anthemic beauty of "Guiding Light" and the bizarre Timbaland-meets-Depeche Mode ambiance of "Undisclosed Desires." Even so, The Resistance is by and large a fantastic record, culminating in a three-song suite that finds the group jumping from classical movements to guitar fretwork to sweeping, swaggering, operatic rock. Those songs occupy the final 16 minutes of the disc, and while they'd likely make a bigger impact earlier in the track list, their mere presence indicates that Muse is finally growing comfortable with its own aspirations. Black Holes and Revelations may be a more commercial record, but The Resistance is Muse's most realized effort to date. - Andrew Leahey
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