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Absolution CD

4.6 out of 5 stars 358 customer reviews

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£4.53 & FREE Delivery in the UK on orders over £20. Details Only 7 left in stock. Sold by Bridge_Records and Fulfilled by Amazon. Gift-wrap available.

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Product details

  • Audio CD (22 Sept. 2003)
  • Number of Discs: 1
  • Format: CD
  • Label: WARNER BROS
  • ASIN: B0000C7GG2
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (358 customer reviews)
  • Amazon Bestsellers Rank: 588 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Intro
  2. Apocalypse Please
  3. Time Is Running Out
  4. Sing For Absolution
  5. Stockholm Syndrome
  6. Falling Away With You
  7. Interlude
  8. Hysteria
  9. Blackout
  10. Butterflies and Hurricanes
  11. The Small Print
  12. Endlessly
  13. Thoughts Of A Dying Atheist
  14. Ruled By Secrecy

Product Description


With Absolution, size is most definitely an issue. Hoping that it will finally propel them into the musical major leagues, Muse have set out to create a cross-genre monster, a contemporary meisterwerk, the biggest-sounding album in years. That they almost succeed is testament to their sky-high confidence and unarguable abilities. With just three members to draw upon, they've individually stretched themselves to fill in the inevitable sonic gaps. Bassist Chris Wolstenholme, in particular, does sterling work, producing a driving buzz to lift "Time Is Running Out" to a massive crescendo, then a rush of distortion that pushes "Hysteria" to Queen-like levels of ecstasy.

Throughout, Matt Bellamy adds classical grace with his tinkling, rolling grand piano, all the while moaning and shrieking out his fear of decay, destruction and death, like a traumatised Gene Pitney. Indeed, aside from their classical leanings and clear kinship with the prog-rock likes of Queen and Rush (there are some outbreaks of metal here), Muse often draw on classic pop, employing lush 1960s-style arrangements. With "Blackout" they go even further, daring to conjure Bacharach's "Magic Moments". If there's a weakness here, it's that the songwriting remains inconsistent, but this is usually covered up by musicianship and studio wizardry that leave Coldplay languishing in Muse's dust. --Dominic Wills

BBC Review

Love them or hate them there's no denying that Muse have energy in abundance. In Absolution, their third offering, they appear more dramatic and tortured than ever.

I was completely bowled over by the force of 1999s Showbiz and the ability of singer Matt Bellamy to work himself into a frenzy over the course of 3 minutes. From that point on Muse knew they'd hit on a winning formula; Origin of Symmetry (2001) and now Absolution show no departure from this original sound.

"Apocalypse Please" is a daring opener and sets the scene for what could have been the most dramatic album of the year. I say could have been because with the advent of The Darkness, Muse may find themselves fighting it out for top spot in the rock opera stakes. It seems that understated isn't currently the order of the day in British music.

Absolution laughs in the face of subtlety. In fact most of the tracks would make an excellent soundtrack to any blockbuster suspense movie. There's no mistaking that Muse make it their aim to render as much conflict as possible in both their lyrics and instrumentals. Single "Time Is Running Out" is a great example of this. "You will squeeze the life out of me", he sings. We know how he feels. This album is not for the faint-hearted and should not be played in times of stress or emotional unease. I fear for the students locked away in their cold rooms crying out "I wanted freedom but I'm restricted, I tried to give you up but I'm addicted".

Bellamy has been compared to Rachmaninov. I wonder whether either of them would be complimented by this comparison, but it's certainly true that Muse are at their best when Matt is at the piano. "Butterflies and Hurricanes" demonstrates his undisputed talent excellently.

Muse demand a reaction and you have to admire that in a band. If you ignore the fact that these songs are probably just a vehicle for Bellamy to divulge his obsession with all that is dark and sinister, you're left with a number of finely crafted and very palatable songs. Don't be ashamed, embrace the melodrama! --Nikki Smith

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Customer Reviews

Top Customer Reviews

By A Customer on 7 Jan. 2005
Format: Audio CD
Muse remain the ultimate acquired taste. Bombastic, over-dramatic and often progressive in style, listeners usually decide to hate them with a passion, or pronounce them the greatest thing in the history of the world. Absolution is their third studio album, and while it's clear it will appear to more people (It seems to shed Origin Of Symmetry's raw edge), there is no sign that Muse are about to settle down and become complacent. Even if you do hate them.
Absolution's general theme is that the world is going to end and we are all going to die. This is reflected on the opening power-surge of "Apocalypse Please", with its driving, almost military drums, and panicking cries of "This Is The End/The End/Of The World". "Apocalypse Please" won't have done much to convince you otherwise if you thought Muse were a tad over-the-top before, but, if the rest of the album is anything to go by, Muse, or at least enigmatic frontman Bellamy, seem perfectly happy to be seen as eccentrics.
The next track comes in the form of the album's most hook-laden track; "Time Is Running Out". A brilliantly catchy pop-rock track, with a bassline to die for, it doesn't break any new ground, for sure, but if it doesn't stick in your head for the next week or two, there's something wrong with you.
This is followed by the magnificent "Sing For Absolution". This sweeping mini-epic is both beautiful and tragic, and marks a real songwriting development from the band who once rhymed "Happening Soon" with "My Direction".
Next up is "Stockholm Syndrome". This is one of Muse's heaviest tracks, an out-and-out rock track that screams panic, desertion and loneliness like Thom Yorke on speed. Again, you will love it, or loathe it with a passion. The falsetto will either drive you to kill or transport you to someplace else.
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By A Customer on 9 Sept. 2003
Format: Audio CD
I was delighted to get this album prior to its commercial release, and so far I must confess it's the best thing I've heard this year. It truly is the spawn of its predecessors. The 'Radiohead imitators' from Showbiz don't collide with the revelation of Origin Of Symmetry, they marry them and have babies! The union of these style is shown no better than Thoughts Of A Dying Atheist, which sounds like a wonderful combination of Plug In Baby and Sunburn.
The album opens with a short track, Intro, where you hear soldiers marching. In retrospect, this is the sound of the Nazi’s invading Poland as Muse decide to stand defiant for the following 50 minutes. I doubt many bands could title a song Apocalypse Please, yet sound as uplifting. The piano laden intro bears resemblance to Politik by Coldplay, not surprising when Chris Martin consulted Matt Bellamy during the recording of A Rush Of Blood To The Head. When Bellamy declares that "This is the end of the world" , it makes for a glorious, bounce around the room sing along. Only 5 minutes into the album and Muse have transformed themselves into the most astonishing band in Britain today. Once you hear this album, you’ll see what I mean. Butterflies and Hurricanes sees Muse hit mantra like levels with Bellamy repeatedly singing “Best, got to be the best” but having the feel of New Born to it. An almost trance like riff bubbles below the surface, begging to be let loose like Bliss, but restrained by tight drumming and highly skilled orchestration.
To their credit, Muse aren’t afraid of their heroes. Time Is Running Out is tied to the late Jeff Buckley with its piano interlude bearing a similarity to Nightmares By The Sea.
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Format: Audio CD
Absolution is a really terrific record by a top flight band. The fact that Muse have generally lost out at the Brits and other award ceremonies to retro-rockers the Darkness is just another sad instance of the British love of mediocrity.
Muse are basically a guitar three piece. Chris Wolstenholme (bass) and Dominic Howard (drums) are an excellent rhythm section: they make sure that Muse's music always rocks hard (compare with pretty-but-drippy Coldplay, for example, and you will see what I mean). But what sets the band apart is the extraordinary Matt Bellamy.
The little s.o.b. can play the keyboards and the guitar and sing up a storm too. Musicians everywhere gnash their teeth in jealousy at this sort of raw talent. On a couple of tracks in this album he wails an E over top C - out of the range even of the most demanding tenor arias. OK, it is hardly bel canto, but in the overblown but glorious Muse mix, it works. Chuck in some virtuoso guitar work and great deal of mucking about with arpeggiators and you have a instantly identifiable and distinct sound.
Matt is evidently in love with romantic composers from the turn of the century, great music if not always in perfect taste. I like to think that Rachmaninov would approve of the results. Muse are often described as "prog rock". But I hated the prog rock of the 1970s and I love this. Emerson, Lake and Palmer, for example, aped the music of composers like Mussgorsky. But the result was flaccid pretension spread out over interminable double albums. In contrast, Muse write tight, intelligent songs with good chord progressions. But you can bang your head to the result with as much enthusiasm as to anything by AC/DC.
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