On September 14, Muse finally released their highly anticipated fifth studio album, The Resistance. The trio of rockers hailing from the UK, Matthew Bellamy, Dominic Howard and Chris Wolstenholme, had become household names in the alternative rock industry for their consistent boundary-breaking albums and live performances.

The Resistance sets forth Muse’s trend for reinventing their sound with each album, yet essentially staying true to their distinct sound. This trend might upset hardcore Muse fans as this album is probably the most accessible Muse album to date; hailing outcries of them being sell-outs. The album has a homogenous sound, using warm tones along with various orchestral arrangements. The lyrics are thematic, which suggests that the album should be listened as one journey from start to end.

Uprising, the album’s first single, which has already reached number one spot on the American Alternative Rock charts, is perhaps an outlier on the album, which similar to Starlight, of Black Holes and Revelations, seems simply made for radio; nothing too adventurous, but still remains one thumping tune. The chorus is particularly memorable and in true Muse fashion, belts out: “They will not force us, they will stop degrading us, they will not control us, we will be victorious”.

The Resistance is an odd song, heralding to Muse’s B-Side song, Crying Shame. The chorus lyrics might make some uneasy, “Love is our resistance”, as Muse seldom allude to love so directly. Undisclosed Desires then comes out of nowhere, marking perhaps Muse’s oddest track to date. It is often described as Muse meets Timbaland. Using staccato strings, slap bass along with a shuffle beat and enchanting chorus in the vain of One Republic’s Apologize; fans will either love or loathe it. Again the lyrics use parallel structures similar to Uprising, “I want reconcile the violence in your heart, I want to recognise your beauty is not just a mask, I want to exorcise the demons from your past, I want to satisfy the undisclosed desires in your heart”.

United States of Eurasia, although epic in scope, borrows a lot from Queen. However, this is probably the greatest track on album, using Matthew Bellamy’s piano skills to great effect. Next up is Guiding Light, which starts good, but will ultimately not be remembered: the lyrics are corny and nothing unique comes forth. Perhaps it was created as an anti-thesis to Unnatural Selection, bringing the old Muse from Origin of Symmetry back again using almost New Born-like riffs and head banging rhythms. MK Ultra, mixes strings and Muse’s penchant for haunting melodies, delivering a surprising combination of new and old Muse. I Belong To You/ Mon Cœur S’ouvre à ta Voix delivers a typical Muse groove track, reminding one of a more upbeat Time is Running Out with pianos and acid bass.

Closing the album is perhaps the penultimate Muse achievement, the symphony Exogenesis, split into three parts: Overture, Cross-Pollination and Redemption. Exogenesis has sombre harmonies and melodies that would fit perfectly in a movie soundtrack. Here Matthew Bellamy’s haunting signature falsetto rises again and complements the swelling of strings, piano and grand arrangements.

The Resistance is beautiful yet different. It opts for a safe sound: switching synth arpeggios with violins, wailing falsettos with memorable sing along choruses and intricate bass lines for smooth driving fuzz. The production is top notch; however the album’s true prowess will only be tested in Muse’s renowned live performances. Then will one only be able to truly capture The Resistance’s grandeur. Till then it’s the still Muse. Be safe that in the fact that they haven’t jumped the shark just yet.