If you know nothing about Muse or their new album and enter into the first track ‘Algorithm’ blind, you’ll likely think you have stumbled onto a budget sci-fi film score. The weird 80’s synthy sounds are reminiscent of Scott Ridley’s Blade Runner and the album cover looks similar to the 2017 reboot. Around halfway through the song, Matt Bellamy’s bold, instantly identifiable vocals come in and the Muse ammeter might be thinking something along the lines of: “Oh, these are the guys that did Super Massive Blackhole. But what the hell is this?”

As the album progresses, it would be lazy to class Simulation Theory as a synth-pop album. It’s experimental and yes, there definitely seems to be a Prince vibe in one or two tracks (‘Propaganda’ we are referring to you), but their use of synth is far more creative than generic ’80s pop. “Pressure” is fun with a catchy Jack White-esque riff. The vocals get a little too poppy in the chorus for my liking, but that’s just a matter of opinion.

The times where they move away from pop and use synths with their signature rock sound, however, are arguably much more interesting. The arpeggio synth in ‘Blockades’ is the only thing that differentiates the track from earlier Muse material. The guitars are distorted, the riffs are heavy and Matt Bellamy’s voice is powerful and captivating. It would be naive to assume that just because there is synth, it must be a synth-pop record. Here, what we’re listening to is a heavy rock song from band who embody everything Black Mirror is about.

The album finale “The Void” opens with synth and  Matt dismally sing: “They’ll say, no one can see us / That we’re estranged and all alone / They believe nothing can reach us / And pull us out of the boundless gloom.” The track also adds a surprise string section and we can’t help but feel like ‘The Void’ feels more like a mid-musical number than a Muse album closer.

Overall, Simulation Theory is creative and experimental, which is always admirable, especially coming from an old-time band like Muse. Despite having an established fan base, it’s great to see that they are continuously mixing things up. In places though, the album is uninspired and the whole obsession with the idea that robots are coming to kill us is getting old.

3/5

The post MUSE “Simulation Theory”: a Technophobic, Uninspired Shot in the Dark appeared first on Hot Pop Today.

If you know nothing about Muse or their new album and enter into the first track ‘Algorithm’ blind, you’ll likely think you have stumbled onto a budget sci-fi film score. The weird 80’s synthy sounds are reminiscent of Scott Ridley’s Blade Runner and the album cover looks similar to the 2017 reboot. Around halfway through the song, Matt Bellamy’s bold, instantly identifiable vocals come in and the Muse ammeter might be thinking something along the lines of: “Oh, these are the guys that did Super Massive Blackhole. But what the hell is this?”

As the album progresses, it would be lazy to class Simulation Theory as a synth-pop album. It’s experimental and yes, there definitely seems to be a Prince vibe in one or two tracks (‘Propaganda’ we are referring to you), but their use of synth is far more creative than generic ’80s pop. “Pressure” is fun with a catchy Jack White-esque riff. The vocals get a little too poppy in the chorus for my liking, but that’s just a matter of opinion.

The times where they move away from pop and use synths with their signature rock sound, however, are arguably much more interesting. The arpeggio synth in ‘Blockades’ is the only thing that differentiates the track from earlier Muse material. The guitars are distorted, the riffs are heavy and Matt Bellamy’s voice is powerful and captivating. It would be naive to assume that just because there is synth, it must be a synth-pop record. Here, what we’re listening to is a heavy rock song from band who embody everything Black Mirror is about.

The album finale “The Void” opens with synth and  Matt dismally sing: “They’ll say, no one can see us / That we’re estranged and all alone / They believe nothing can reach us / And pull us out of the boundless gloom.” The track also adds a surprise string section and we can’t help but feel like ‘The Void’ feels more like a mid-musical number than a Muse album closer.

Overall, Simulation Theory is creative and experimental, which is always admirable, especially coming from an old-time band like Muse. Despite having an established fan base, it’s great to see that they are continuously mixing things up. In places though, the album is uninspired and the whole obsession with the idea that robots are coming to kill us is getting old.

3/5

The post MUSE “Simulation Theory”: a Technophobic, Uninspired Shot in the Dark appeared first on Hot Pop Today.