Muse’s “Resistance” album is a story of the fight ‘til the end, and not many seem to be aware of its relavance to the present day.
In 2009, the alternative rock band Muse released “Resistance,” an album mainly known for its hit song “Uprising.” However, there isn’t much talk about the rest of the album; listeners seem to overlook that the entire album — not just “Uprising” — is a response to the increasing presence of resistance; it’s a depiction of the fight in defending the human race.
The first and most popular song of the album is “Uprising,” a dramatic and intense introduction with its vibrant electric and bass guitar. Lead singer Matt Bellamy’s confidence in his voice when singing – “They will not control us / We will be victorious” – adds an element of certainty. It’s as if the people Belammy is referring to (names and sides aren’t explicitly mentioned) are positive that they will win the fight.
It’s appropriate to suggest that Muse is directly referring to the citizens of a country fighting against an authoritarian regime. Assuming that “Resistance” is a direct depiction of a specific world power seems off-putting; Bellamy does clarify that the entire album is “a kind of musical companion to ‘1984,’ the classic George Orwell novel about a lone man's rebellion against a controlling totalitarian government.”
The next two songs, “Resistance” and “Undisclosed Desires” are played with a traditional alternative rock style. The electric guitar, bass, and Bellamy’s vocals sound expected from an alternative band incorporating minor keys and extended instrumentals throughout the songs.
The End All Be All
The following songs are when the story starts to get even more ambiguous. “United states of Eurasia (+Collateral Damage)” starts with the piano and string instruments again at a slow pace before a two-second crescendo to the off-tune chorus: “There can only be one United States/United States of… / Eurasia!” The song then suddenly transitions to a cover of Frederic Chopin’s Nocturne Op.9 No.2. There is also a faint sound of airplanes flying above the muffled voices — or possible screaming — of children. This song is either signifying a break within the fight or a period of madness that is manipulated with this classical music break. The song’s use of the word “Eurasia” further suggests that this fight is in some relation to the real world.
Nonetheless, listeners today, especially those within younger generations, are possibly more likely to understand what Muse is trying to do in “Resistance.” Living in a society that survived a worldwide pandemic, the spread of climate change, and the seemingly increase in political division has led many people to rethink their existence. With the increasing pressure to mend the breaks of society, more members of Generation Z are inclined towards maintaining their isolation beyond pandemic restrictions. Yet, avoiding the present tragedies doesn’t make them disappear. Therefore, if one is more inclined to speak up, then by all means; but at the same time, it's not realistic to think that we all must devote our entire lifetime to saving the world, but rather at least maintain a proper awareness and understanding of current events.
The next song, “Guiding Light,” consists of an ‘80s-style computerized sound with a steady base, along with some intense electronic guitar solos. This piece sounds more of a love song than one depicting a war zone. Muse seems to have incorporated this to show that despite all the public determination, humans still have a personal motive in their commitments – the fight is always for the greater good of the people, not a person.
“Unnatural Selection” sounds both unique yet perfectly expected from an alternative rock band. There’s a loud and quick drum beat adding dimension to the moderate tempo of the electric and bass guitar. The lyrics suggest a new motivation in defeating this powerful enemy : “I wanna push it beyond a peaceful protest / I wanna speak in a language that they’ll understand.” It’s most definite that “they” refers to a higher power within the dystopian world, such as an authoritative government or administration.
This further emphasizes the unknown result to the album’s story, similar to the increasing uncertainty people are experiencing in the real world — whether it be due to the COVID-19 pandemic, global strife or mass shootings. Uncertainty is equivalent to fear; if one is unsure about a situation, they are usually inclined to avoid talking about or engaging with said topic. But in some cases, fear may be the very reason to take action — whether you silently educate yourself or openly participate in initiatives that establish public change.
The previous songs were explaining everyone’s confidence in succeeding. But in “MK Ultra,” it’s almost as if that hope is fleeting, that the world is inevitably ending. The song concludes at a slower pace, and the guitar pitch gets even lower, further emphasizing the growing uncertainty in saving the world: “A universe is trapped inside a tear” that “replaces love and happiness with fear.”
There are some music critics who disliked the random stylistic changes, specifically in the next song, “I Belong to You/Mon Coeur S'Ouvre a Ta Voix.” The piano’s quick staccato in the first half is a unique touch from an alternative rock song. The lyrics vaguely describe the narrator’s own difficulties with their lover: “I can’t find the words to say” and “I’ve traveled half the world to say / I belong to you.” Then, all of a sudden, the song ambitiously breaks to Bellamy singing in French with piano playing in the background.
Rock and classical music are evidently distinct. The idea of combining the two is flat out awkward and uncalled for, and Muse does this twice in their album. It’s an attempt to portray the disorientation prevalent in the chaos of heavy electronic music — the elegant piano is signifying a break within the madness.
As for the album’s finale, Muse produced three songs titled “Exogenesis: Symphony”: “Pt.1 (Overture)”, “Pt.2 (Cross-pollination)”, “Pt.3 (Redemption)”. They barely contain any lyrics, and when Bellamy does sing, his voice is overpowered by the orchestral backing. It’s possible that these songs represent the ending to this album’s journey. “Overture” seems to be emphasizing the start of the final fight, with unawareness of the future’s mysteries. “Cross-pollination” might represent the middle of the fight, a period containing both victory and failure. Unfortunately, in “Redemption” they are asking for a second chance: “Let’s start over again.” They have lost despite the preceding songs raving on about their confidence in domination.
Muse is using their musical presence to describe a war present in a dystopian fantasy. And this fantasy is a loose depiction of life and conflict present in the real world. “Resistance” allows its listeners to rethink their view on the world that they might believe is failing them. It’s a reminder that despite the tragedy and difficulties present, there is always someone out there willing to take the extra step, to initiate more hope and to lessen the fear in present reality.
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