Absolution

The English rock trio Muse consists of guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenhome and drummer Dominic Howard. Bored by the sleepy life their hometown of Teignmouth, Devon provided, the three friends began playing music together. They started the first incarnation of their band when they were all 13, changing the name of the group from Gothic Plague to Fixed Penalty to Rocket Baby Dolls as time passed. By 1997 the band settled on the name Muse and released their self-titled debut EP on Dangerous Records, followed by the Muscle Museum EP in 1998. The group's emotive, Radiohead-like sound and live dates drew critical acclaim and industry buzz, and after a trip to New York's CMJ festival, Muse signed a deal with Maverick Records. Singles like "Cave" and "Uno" preceded their debut full-length album Showbiz, which was released toward the end of 1999. Two years later, Muse issued The Origin of Symmetry and had a major hit with "Hyper Music." In 2002, fans were treated to the double-disc live set Hullabaloo. Muse's fourth album, Absolution, got the usual royal treatment upon its late-2003 release. Stateside fans finally got a taste of Absolution when it was released on Warner Bros. the following March. A short North American tour in the spring coincided Muse's spot on the fifth annual Coachella Music and Arts Festival in May 2004.

Though some may still consider them Radiohead mimics, obviously Muse continue to strike a nerve with their alternative hard rock audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in Absolution. Frontman Matt Bellamy and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of Radiohead, a rock thunder descended from Black Sabbath, and the baroque drama of Queen. Longtime producer John Leckie sits this one out, and in steps indie uber-engineer Rich Costey. With Costey manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because Bellamy delivers the same Thom Yorke vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from Freddie Mercury. With song titles and subject matter fueled by fear of the apocalypse, and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and, of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a rock opera version of the score to Koyaanisqatsi, and then there are the occasional spooky moments where funky rhythms mingle with heavy metal guitars, suggesting a progressive Italian zombie flick soundtrack. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather. Muse continue to make unrelenting hardcore art rock; Absolution is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any Muse fan craves.