2004-02-10
I have to admit that I never really took a fancy to the band, the vocalist always sounded to similar to Jeff Buckly, or alternately, to Tom York, and their music always sounded like its trying too hard to please the listener, too much melody, and rather simple songs, it was when their last album, Hullabaloo, was released that I paid heed to a song called Megalomania, but beyond that, I didn’t expect any surprises from the band.
“Absolution” surprised me, and for the best.
The British band, running on an engine called Matthew Bellamy, who was in charge, besides the singing, on playing guitar, keyboards, and also did some engineering on the album.
The band’s other members, bassist Chris Wolstenhome, who does a great job here, and drummer Dominic Howard, no push-over as well, all display the fruits of playing together for so long (since they were 13), thus creating a good, solid album.
The band’s music is difficult to define, they use elements of noise, punk, metal and electronic music in seemingly effortless ease, with the connecting thread being Mathew Bellamy’s distinct voice, a cross between Radiohead’s Tom York’s vocals, and Freddy Mercury’s theatrics in singing, whatever it may be, it all ticks fine in here.
The album opens with a short intro, connected to the opening track ”Apocalypse Please” a melodic bomb shell, whose Bellamy’s piano playing lends it a heavy, oppressive feel, creating an interesting contrast to its metallic elements.
The album first certified hit is up next “time is running out” off with a reverting start, on to it’s tragic pre-chorus “I won’t let you murder it” Bellamy crones, and you won’t know if to cry or thrash out with the involving rhythm…
The title song – sing for absolution, has a bit more optimistic, melodic feel to it, accompanied by minor guitars and soothing you for a minute or two before you’re being thrown into “Stockholm Syndrome” a happily head banging song, that reaches its crescendo during the chorus, distorted guitars overlain with synths, with Bellamy’s vocals reaching their highest notes yet, impressive.
The album goes on, moving you back and forward between soft, melodic ballads and hyperactive metallic anthems with Bellamy vocals turning each one into a phenomena by itself, “Hysteria” is a stand-out track, anthem-like violence inducing song, which demonstrates the validity of the bands rhythm section with it excellent bass-line and drumming, giving the proper platform for Bellamy’s undeniable talent.
All in all, a an excellent album , well recommended by me!
Alon Miasnikov
