Drones Review

artist: Muse date: 06/11/2015 category: compact discs
Muse: Drones
Released: Jun 5, 2015
Genre: Alternative Rock, Pop Rock
Label: Warner Bros, Helium-3
Number Of Tracks: 12
A very strong continuation from British band Muse, branching away rather than disassociating with "The 2nd Law" and still maintaining their core sound.
 Sound: 8.5
 Lyrics: 7.5
 Overall Impression: 8
 Overall rating:
 7.6 
 Reviewer rating:
 8 
 Users rating:
 7.1 
 Votes:
 142 
 Views:
 23,980 
reviews (2) pictures (1) 100 comments vote for this album:
overall: 7.7
Drones Featured review by: UG Team, on june 10, 2015
10 of 11 people found this review helpful

Sound: Welcome to "Drones," soldier. This is album number seven for Muse, who are, perhaps, one of the more notable "arena" bands and also perhaps, with one of the biggest albums of the year.

I'll start off by saying, my experience with Muse has been admittedly "little to none," but my experience with who they influence is something I've only just noticed (on a side note, check out "The Congregation" by Leprous and you'll hear what I mean).

As such, I like to think I'm approaching this in the right way, as someone who's a big fan of things that challenge the norm and as someone who'd give the mainstream a chance if it actually had anything good to offer. I think "Drones" does that. But what is it actually like?

So, we're starting off with "Dead Inside," an unabashed electro-rock piece that brings the '80s synth cheese like it's actually in fashion (begs the question, was cheese ever in fashion?). Note that this is also one of the many singles from this album and given how it kind of drops its rather punctuated, minimalist, groovy drive around the midway mark for what is undeniably the dreaded 4-chord progression, it's no surprise they'd want to get the flak out of the way. Not to say it's terrible, but I'm beginning to see why many might be initially turned off by this record.

However, this is not, in any way, what the album as a whole sounds like. I'm not ultra familiar with Muse's early 2000's work, but what I've heard indicates that the next track, "Psycho," would fit on something like "Origin of Symmetry" if it had a production overhaul: everything's based on this hilariously catchy riff that hits the right grooves with the precision you'd have come to expect from a veteran touring band. It's such a shift from "Dead Inside" that you'd think you were listening to a different album entirely.

Then you run into "Mercy," undoubtedly the weakest song on the album. Unashamedly cringe inducing in its cheese and style, and not something I'd recommend. Hang on, third single in a row? Whatcha playing me for, Muse? Don't think I have the patience for the rest of your album?

If anything, this pattern shows how the band is influenced by their fan base. All that the first 6 songs basically want to showcase is pretty much everything the band has done or can do in a painfully short amount of time. Really, they just want to throw singles at a wall and see which ones will stick. I'll tell you which one does for me, and that's "Reapers." People might call it garish or bombastic or "too guitar driven" (as if that's ever a bad thing), but I say this is probably one of the strongest songs Muse has written, speaking as a non-Muse-fan. It has what I can only describe as the heaviest breakdown you've heard all year. It's the only popular song I've heard in what feels like forever that has actual guitar leads (really tasty Malmsteen-esque tapping). It's certainly my most favourite track on the album. I'd say that the other singles, apart from perhaps "Psycho," are some of the weaker parts of the album and you'd be doing yourself a pleasure by giving the second half a chance.

I could honestly ramble on about what's actually great in this album, like the super '70s prog bassline of semi-ballad "Aftermath" and the really powerful, dropped-tuned build up of classically-respectful ten minute wonder "The Globalist," but that might be spoiling it. Their general theme of "pop-prog" is incredibly engaging, and I'm pretty much sold.

Production/mix wise... I mean, I get that if you've already done the electronic/influence thing (i.e. "The 2nd Law") you kind of need a bit of consistency, but I think it pervades a bit much on "Drones." Most notable in the overall drum sound, which is very "modeled" sounding, it's not that in itself which is the bad part, it's that you've got this incredibly rock driven album with a great human feel to it but then suddenly this rather at-odds, electronic-ish drum sound starts bursting through the mix. It's just something that doesn't quite work, given the genre. However, that's actually my only real gripe. The production is just overall fantastic, where pretty much everything fits in and blends comfortably with each other. // 8

Lyrics: A lot of people are at odds with Muse entirely for Mat Bellamy's particular voice. Obviously, if that's what dissuaded you previously, then you're probably not going to enjoy this album much. I, for one, think he has a certain Freddie Mercury-esque flair and think that the actual Queen vibe of the vocals is not a bad thing. As ever, Bellamy delivers his impassioned, theatrical performance that is so demanded by their instrumentals (also, the Shining (NOR) style distorted vocals on certain tracks are frickin' great). I find little fault in the performance, aside from whatever possible, personal tonal preference could arise.

Lyrically, this is one of the more notable things about this album, and probably the biggest clash I have with it. The drone concept is represented both as the (somewhat) topical flying machines of death and as an allegory for anyone who is basically a part of the governmental system (i.e. pretty much everyone, right?). The main fault here is that this narrative concept is not portrayed with any kind of "hard-hitting" power through the lyrical themes. By all means, do listen to "21st Century Schizoid Man" for some actual mastery in this area.

I'd like to bring up a Tom Waits track as an example, "Hell Broke Luce." It tells of an army officer who could not deal with the horrors of war after coming home and Waits' retelling, revitalizing and respect for the reality-based story. I feel as though "Drones" is portrayed in the same way as a particularly blustery musical or as a concept two stoned guys came up with and it got way out of hand ("hey, dude... what if... what if drones, can also mean us..." "That's deep, dude"). Not to belittle the vocalist's other talents, but I think this subject was approached with some sort of flippancy in "Drones," like it was just something to get people talking rather than a fully immersive concept. // 7

Overall Impression: Well, overall, this album is pretty strong, possibly their strongest? Not sure, but certainly the most inclusive. I can say that don't be too lead on by the singles, give the stronger second half a chance. I appreciate that Muse are at a position where they can actually do very popular music and still be able to include the generally "un-pop" things that the mainstream is lacking a fair bit of.

Also, if you know you don't like Muse, you probably still won't like Muse.

Songs to look out for: "Reapers," "The Handler," "Defector," "The Globalist." // 8




- Joseph Quigley aka EpiExplorer (c) 2015

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overall: 8.3
Drones Reviewed by: v3rmilion, on june 11, 2015
7 of 7 people found this review helpful

Sound: Having previously released one of my favorite albums of 2012 ("The 2nd Law," a nod to the thermodynamic principle that in a closed system neither receiving nor losing energy from an outside source, said system will become increasingly disorganized over time until there is a uniform distribution of energy and work can no longer be done), Muse is back to win my heart again in 2015 with their 7th studio album, "Drones."

"Drones" provides even more of the same Queen-meets-Radiohead Brit-prog as before, though interestingly foregoing some of the more electronic elements from the previous album. I may have thought this forfeiture of overt variety might hinder the album's impact and intrigue; but though the result seems almost less varied, they manage to keep things fresh even without incorporating more varied styles into their songwriting.

As such, "Drones" initially feels to be a more focused, congruent album overall than "The 2nd Law," doling out fantastic riffs, searing leads, and soaring melodies left and right while maintaining a very solid, impressive structure of hard-grooving, hard-hitting hard-rock.

Matthew Bellamy's voice is as it ever was, and with a rich vibrato and strong emotional presence, he belts out huge choruses and and falsetto verse melodies impressively over the course of the first eight tracks (not including the two "intermission" like tracks, "[Drill Sargeant]" and "[JFK]"), and even providing a fantastic final two-minutes and forty-nine seconds of rich, choir-like melodies reminiscent of the way A Perfect Circle concluded their 2004 release "eMotive" with a rich, layere, vocal-harmony solo-delivery of Joni Mitchell's "The Fiddle and the Drum." This closing track, the titular "Drones," is a fantastic showcase of Bellamy's vocal talent and compositional competence, and is a relaxing and wonderful way to close an otherwise rhythmically-powerful, hard-rocking record.

Other stand-out tracks for me include "Reapers" and "The Handler," tracks #5 & #6, which are my personal favorite tracks on the album as of writing.

"Reapers" features a fantastic main riff which makes use of a tapping lick rather reminiscent of Van Halen's "Hot for Teacher," some wonderful, heavy, fantastically driving single-note riffs leading into and rocking underneath the chorus, as well as an awesome guitar solo from Bellamy, which makes frequent use of a whammy pedal throughout in a very Tom Morello-like way in order to shift his leads up and down, adding an extra dimension to Bellamy's trademark buzz-saw lead tone and expanding the licks, tones, and phrases into exciting places.

"The Handler" features a heavy, slow-burning groove, punctuated by Dominic Howard's drum beats. The melody is typical Muse, contrasting heavily with the the heavy, driving beat of the drums and the carrying pulse of the guitar and bass, with Bellamy providing a dreamy vocal scape to frame the choral synths and gritty bass tone with echoing falsettos and emotive vibrato. The bridge shifts the song into double-time, as if the song found itself beset by a predator and suddenly sprinting for its life, with a tense hammer-on lick reminiscent of AC/DC's "Thunderstruck," for lack of a more tonally appropriate comparison.

The production is very clean, smooth, and deep, and the composition is full, interesting, and very well-done. Listening intently through headphones without distraction is almost a totally different experience from listening in the car while driving, or as the soundtrack to a web-surfing session. Listening more closely reveals a lot more neat little details in the recording, much like MCR's "The Black Parade." There's a lot of cool stuff going on, with the guitar often playing backseat to the other instruments and providing textures and quiet accompaniment usually reserved for a synthesizer, and these details could be missed if you're not paying close enough attention to the recording.

The guitar tones are rich, the drums are succinct and punchy (though perhaps lacking a touch in terms of the weight behind the punch), and the bass is situated firmly in a supporting role between the drums and guitars, working to carry the rhythm with the drums while helping the guitar to provide a firm base for the keyboards and vocals. There are some great tones on this album, from the gritty, fuzzy bass tones on "Dead Inside" to the AWESOME octave-fuzz guitar tones on "Mercy," the full, reverb soaked call-and-answer of the slow, calm guitar-work on "The Globalist," and the searing, floopy (for lack of a better term) sounds of the whammy pedal during the fantastic guitar solo on "Reapers."

Muse's sound on this new album is altogether a bit more focused than their last release, and though I have yet to decide, that solidarity of tone and style may end up making the record stick more firmly in the memory of its listeners as a whole, rather than as a few singles and "that dubstep track," as "The 2nd Law" did. // 9

Lyrics: Imagine if "1984" were written by somebody with a bigger interest in exploring the human side of things rather than illustrating the frightening implications of allowing governments too much control over their citizens.

That's the impression I get from the lyrics in general. It's hard for me to speak very specifically on them, because everyone might interpret them a little differently, or some people might not understand potential allusions, or maybe the songs are meant to tell a story, or maybe they're not all connected, or maybe they're not in chronological order, or SOMETHING, but that makes it difficult to say, really.

The lyrics here are competent. There is emotion, there is some slight narrative, and the rhyme and rhythm aren't so lazy that it has the impression of being trite or cliché. // 8

Overall Impression: Compared to Muse's past efforts (that I'm familiar with), "Drones" is a *very* competent offering. The tracks are fairly distinct, interesting, fun to listen to, and well-composed. The lyrics are great and worth reading along while you listen if you can't make them out well enough on your own in order to more fully realize the pieces.

My personal favorite, stand-out tracks, what I think to be the best representations of what this album offers, and the tracks I would share with a friend in order to convince them to purchase the album are "Reapers," "The Handler," "Dead Inside," and the fantastic a-capella closer, "Drones."

I love Muse's musical identity here. They build these rich soundscapes over simple, driving riffs, and hammer home the emotions and grooves by opening them up into huge, soaring choruses.

Muse is like the musical blend of Queen, Radiohead, and Daft Punk, and they rock just as hard as that makes it sound like they do.

If I lost this album, I would buy it again in a heartbeat. My only problem with the CD is the small, hard-paper case is a square with a side length only about as long as the diameter of the CD, so if you put it on a shelf with the rest of your CD collection, the edge will be sunk in around a half-an-inch compared to the full-size jewel-cases on either side of it and difficult to read.

Any fans of Muse would do well to pick this one up, as would any fan of broody, hard-rocking alternative, or driving arena rock. Muse really put in a great effort with this disc, and it's a great showcase of their collective talent, and of their performing and songwriting abilities. // 8

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