Since storming the world with 2007’s juggernaut album Black Holes & Revelations, all eyes have been on Muse. The Devonshire trio’s fourth studio album cemented their status as, without a doubt, one of the biggest rock bands in the world, if not the biggest, garnering new fans and inspiring veterans. Shortly after however, rumours were starting to emerge, inciting quiet alarm that there would be absolutely no more albums following this solid success. But followers breathed a collective sigh of relief this year with the announcement that The Resistance was in production. The Resistance has now been unleashed and what a production it is.

Casting off the shackles of incumbent producers and taking the reigns for the first time, Matt Bellamy and Co have single-handedly produced what is a truly awe-inspiring creation. Shades of glitzy, dirty glam 70s rock are juxtaposed with delicate, sweeping symphonic passages reminiscent of grandiose Romantic movements. Opener “Uprising” is no doubt the anthem, driving the call to arms home with stomping chords and commanding harmonies. “Undisclosed Desires” is a surprising addition; no doubt it will appease the masses but is ultimately the biggest step away from their usual sound, almost venturing into smooth RnB territory. “Guiding Light” heads off into the land of 80s synth-pop and the expansion of “United States of Eurasia” into a classic Bellamy tinkle on the ivories is simply divine and adds more to the song other than “my god it sounds like Queen!” (come on, it’s just the vocal harmony people). “Unnatural Selection” is a classic prog-rock ripper, complete with time changes and string arrangements (the riff is almost identical to Origin of Symmetry’s “New Born” - interesting) and “I Belong to You” is a swan dive into unchartered territory and one can’t help but giggle as visions of the Star Wars Cantina band spring to mind. The much talked of inclusion of a symphony orchestra features heavily in the closing concerto, a three part movement full of luscious, soaring passages and a definitive message that hope will conquer.

There are some big ideas to be digested here; as with all Muse releases, this isn’t just your everyday, superficial rock album. The overall production is great; the string arrangements are not to heavy handed, while bassist Chris Wolstenholme and drummer Dom Howard lend their unwavering support as always. However I can’t help but cringe just a tad at the position of Bellamy’s voice on some songs; his voice has been placed more central which certainly picks up the emotional qualities but also makes it sound a bit overworked.

Self-indulgent is one way of describing The Resistance: Bellamy’s love of bittersweet classical orchestration is certainly present as he tries to wake the world up to the evils of globalisation and class stratification. But after four undeniably strong releases to date, it was time to be a bit indulgent, something they have never denied in the creation of The Resistance. Never shying away from going a little bit off the deep end with each album, each has somehow projected a slightly more unique sound and inched a little bit towards the dark side every time. This is no exception; in fact, its big jump into the unknown is The Resistance’s virtue. This is inspiring and moving stuff. Some fans may find it a little hard to stomach, and some might find it down right certifiable. But a true appreciation of tried and true formulas of classic song writing and story-telling goes a long way. Bellamy, Wolstenholme and Howard have taken full flight in this epic production, and yes, been a tad indulgent. But their indulgence is our gain.

-  Carley Hall