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Absolution
Format: Audio CD|Change
Price:£5.99+ Free shipping with Amazon Prime


on 8 December 2016
I discovered Muse for the first time when I saw them play on TV at the BAFTA awards and was blown away by their set and playing of 'Supremacy'. A couple of years later I'm now catching up on their earlier music such as 'Origin of Symmetry' and now 'Absolution,' an even earlier album. I've been playing this latest purchase every day since obtaining this and I just think as a 3 piece group Muse make brilliant music. Immediately the tracks that stand out for me are 'Apocalypse Please, Sing for Absolution, Stockholm Syndrome, Hysteria and Ruled by Secrecy.'
Muse seem to have a talent for fusing extracts of classical / orchestral tunes together with rock music. 'Absolution' is a testimony to this. Brilliant.
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on 3 June 2017
Every single album from Muse will bear a 5 star rating from me, not because I am not objective as a fan, but because they are among the most creative musicians producing music on the market. Of course, if you are not used to rock music, you will need to to get used to the hard sound but it will mixed with softer one and this mixture makes the album accessible to most people into modern music. The three members are as good in live as they sound on the album. This is a real live band happening to be producing recordings of their work. I can't stop listening to this one. First listen will grab your attention and keep you on it for a long time. Be prepared!!
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on 21 August 2017
I'm 68.
Quite frankly there is something about these young whipersnappers that appeals to my inner whatever.
Not all their works are likeable. Sometimes just one on an album or just a few.
But I like the kick they give.
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on 3 August 2013
There's no denying it; Muse is one of the few Bands today that are amazing and consistent. Each Album they release gives you chills when you listen to it, makes you want to burst out with all kinds of emotions.

Absolution is no different, and possibly one of their most emotive Albums yet.

The first track on the Album is named Intro. It's twenty seconds long, and is an odd, distorted noise of Soldier's marching. It seems odd when you first hear it, but when it turns out that the Marching has the same drum beat as the Album's first Song, Apocalypse Please, you start to understand how clever Muse can be.

Apocalypse Please is one of the most dramatic pieces of Music this decade, and it really shows as to why the Director's of 30 Days of Night decided to use it in their trailer. It's a loud piece, with Piano, Drums and Matt Bellamy's amazing vocals roaring the whole way through. Muse seem to disbelieve in the line; "The world ends not with a bang, but a whimper," as this apocalyptic Song really packs a punch.

The third track on the Album has a very memorable Bass Line that you'll probably be humming weeks after hearing. Time is Running Out has brilliant pacing, with a little instrumental gap right in the middle to give a pause from the loudness of the Song.

The fourth track featured on the Album is Sing for Absolution, the title track, per se. It's a painful Piano track set deep in the future, and Bellamy really goes for a high voice on this one. With echoed lyrics, a sad but epic Chorus and beautiful screaming, this one is brilliant.

Fifth track in, and you'll be completely blown away. Stockholm Syndrome is the name, and Heavy Rock is the Game. The Guitar riff that is repeated in this Song is to die for, and it's explosive ending will undoubtedly get you head banging. The Chorus is beautiful, too, but aggressive at the same time.

Next we have a sudden change in mood with Falling Away with You. This one is very calm, and tranquil. The Guitar and background noise reflects this. It's lovely, and a lifting song, but nobody was prepared for what happens next...
There's a brief Interlude track stuck there. It's distorted, but all you can hear is a Guitar and pretty much nothing else.

Then, all of a sudden, the Bass Line of Hysteria kicks in. Then the drums. And then the Guitar. It's heavy, and distorted, and one of the best tracks on the Album. There's a bridge right in the middle, and then the Guitar Solo comes in, and it sounds like Liquid Rock, in a way. There's no doubt about it, this Song is amazing.

Then, once again, a sudden mood lifter. Blackout is slow, lovely and sad, in a way. Lyrics like; "This loves too good to last, and I'm too old to dream," bless this Song, and it ends up as a beautiful transition of Genre.

We're on the tenth track of Absolution, and once again, one of the best Songs jumps in. Butterflies and Hurricanes is typical Muse style; Long, brilliant and constantly changing. From the echoed words to the Piano interlude, this Song is brilliant.

The Small Print suddenly jumps out of nowhere, and it's like Stockholm Syndrome again, but even more aggressive. A Song written from the Devil's point of view, the Chorus will grasp you and refuse to let you go. The constant Guitar will rip you apart and eat you up. In other words, an excellent Song is coming your way.

Next up, we have the slower and sadder Endlessly. It's not like Falling Away with You or Blackout, in that it doesn't move at a snail's pace, instead moving at a normal speed. The lyrics are pained, and the instruments are just in the background until the middle, where there is a short but sweet instrumental.

Thoughts of a Dying Atheist is a confusing Song. It deals with how someone who does not believe in God feels on their deathbed. "It scares the hell out of me," is the repeated phrase, which could mean that he is genuinely terrified, or not scared at all. (Due to not believing in Hell.)

Finally, the last track on the Album is a contrast to Apocalypse Please. Ruled by Secrecy has a sad and constant Piano, scared lyrics and not a lot else. It sounds boring, but trust me when I say, it's not.

Absolution is one of the best damn Albums I've ever heard. It's constantly changing, and delivers a consistent dose of Music from all Genres. I was also very happy with how quickly it arrived, the day after I bought it. 10 out of 10, from me.
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on 23 September 2003
Let’s face it: the words ‘rock opera’ never did much to strike fear into one’s heart – the most it did was strike the image of Freddie Mercury in silver hot pants into one’s repressed memories. Attitudes changed at the turn of the century when a young British trio unleashed their overblown mania upon the unsuspecting public, fusing solid guitar rock with the more dramatic aspects of Queen (less the tight trousers and big hair). That band was Muse with their breakthrough album Origin of Symmetry. How three little men could make such a grandiose mess of noise remains a mystery, so as ‘the follow-up album’, Absolution has big shoes to fill.
Like its predecessor, Absolution is packed with impossibly bouncy basslines, pounding piano, frantic drum patterns, slabs of fuzzy guitar and vocals that soar straight into three octaves above middle C. But this new record, the band’s third studio offering, is also a step forward thematically. War. Armageddon. Life After God. This sort of ostentatious political-philosophic subject matter could only be carried off by a few bands with the sound and personality to match, and luckily, Muse is one of them.
The album begins with the ominous sound of marching feet before launching into the aptly named 'Apocalypse Please', where doom-filled piano chords clomp around as though they’d been penned by Rachmaninov himself. And thus the mood of the record is set: we can almost see a blinding white spotlight falling on Matt ‘the brains behind the band’ Bellamy, as he raises his arms to the sky and announces, with a twisted smile on his lips, “This is the end of the world.”
'Sing for Absolution' is a strange piece. Like ethereal B-side 'Hypochondriac Music', it begins softly and slowly builds into a swirling hymn singing its little heart out trying to redeem the sins of the whole wide world. It’s quite clear where Bellamy had got his inspiration this time round – he has often spoken of his favourite piece by Hector Berlioz, 'La Messe des Morts' (Mass for the Dead), and here he has created a five-minute modern-day equivalent.
A fantastically speedy bass riff opens 'Hysteria' and proceeds to buzz around the background for the entire duration of the song, itself a textbook example of Chris Wolstenholme’s mind-numbing skill. Similarly, drummer Dominic Howard is the one to shine in 'TSP' and the industrial sounding 'Stockholm Syndrome'.
The undeniable star of the show, however, is still Matt Bellamy. It’s fair to say that he alone could come up with something as ludicrous and blatantly wonderful as track 10, 'Butterflies and Hurricanes'. A commentator had likened this song to 'Bohemian Rhapsody' for the new generation and it’s an accurate enough description. Pulsating, urgent, intense, operatic... and that’s only before the piano solo. Piano solo, I hear you ask? Well, remember who wrote the track. And that, in the end, is exactly what’s going to propel this song into the ranks of classics. It’s pompous, mad, and definitely more than a trifle ridiculous, but all of it is veiled by an overwhelming sense of genius... this becomes apparent at 4:22, when out swans the full-blown choir and orchestra, the vocals and guitars and drums and everything else bursting back into splendid song with the sort of harmony and beauty that the world has not seen since the “rain down” bit in Radiohead’s 'Paranoid Android'. Enough said, really.
Musically, Muse has indeed progressed. The piano is used with more panache here, no longer as simple beguiling entries to full-blown rock songs but rather as an integral part of them. There are more orchestral undertones throughout the album, and Bellamy’s voice is has completely gelled with the music as opposed to sometimes fighting for attention. Yet, given all the lavish praise, I hesitate at saying that the new album has exceeded expectations. While Origin of Symmetry went from strength to strength, the songs on Absolution range from infinitely brilliant to – gasp – merely mediocre (albeit mediocrity Muse-style). 'Dying Thoughts of an Atheist' doesn’t quite match up to its ambitious subject matter, and the likes of 'Falling Away with You' are nothing more than rehashed versions of the lacking attempts heaped at the back of debut Showbiz.
The end verdict? Muse fans will need Absolution, as it does scale the peaks of modern-day prog to new heights; but for those new to the youthful insanity that is Muse, perhaps it’s a better idea to first get acquainted with the previous albums than to leap straight in at the deep end.
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on 7 January 2015
Muse at the top of their game (in my humble opinion).
Fantastic variety here and doesn't waste time trying to be 'subtle'! Manages to be memorable AND repayable.
I had to buy this when youtube had the nerve to start deleting uploads of this album.
Overall,
Buy it, Buy it, Buy it.
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on 18 October 2016
An old C/D I bought as not in my collection. Muse at there proggyiest best . Others have reviewed in depth so need to say no more as many have this C/D
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on 8 July 2017
Great album, could listen for hours, brilliant service delivered quickly, 5 stars
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on 3 April 2018
excellent CD
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on 4 August 2017
Great album.
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