2nd Law

2nd Law

4.5 2
by Muse
     
 

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Throughout their career, it's always been clear that Muse aren't satisfied to just do the same thing over and over again, as they have evolved from their early days when they were (perhaps unfairly) pigeonholed as a Radiohead imitator into purveyors of some of the most epic symphonic rock since Queen<See more details below

Overview

Throughout their career, it's always been clear that Muse aren't satisfied to just do the same thing over and over again, as they have evolved from their early days when they were (perhaps unfairly) pigeonholed as a Radiohead imitator into purveyors of some of the most epic symphonic rock since Queen graced the stage. On their sixth album, The 2nd Law, they continue to shake things up, diving deeper into the electronic rabbit hole as they experiment with a sound that's less reliant on Matthew Bellamy's guitar heroics, resulting in an album that's a bit of a mixed bag. Incorporating some of the slickest production the band has ever had with a more synth-heavy sound, the album certainly succeeds in feeling different from Muse's previous work. While this certainly keeps with their tradition of always pushing their sound in new directions, their excursions into dubstep and dance music on tracks like "Madness" and "Follow Me" feel more like remixes than original songs. Songs like these definitely have the spine of Muse tracks, but the production that's built up around them feels almost alien. This feeling really comes through on "Panic Station," which feels like a cousin to "Supermassive Black Hole," but where the latter was built on a solid foundation of heavy guitars, the former is over-produced into what feels like the band's version of Genesis' "That's All." Though there are plenty of moments like these, there are also lots of places where they get things right, with album opener "Supremacy" and Olympic anthem "Survival" leading the pack with their symphonic arrangements providing the album with the kind of sweeping grandeur that people have come to expect. The most surprising experiment, however, comes by way of "Save Me" and "Liquid State," which find bassist Chris Wolstenholme stepping into the spotlight as a singer and a songwriter for the first time. The two songs work well together, with the first feeling like a kind of drifting introduction to the other's bass-heavy drive, providing the album with a pair of songs that feel like a throwback to the Origin of Symmetry and Absolution days, while feeling different enough that they're not an obvious step backward. With so many different experiments going on, The 2nd Law can sometimes feel a bit disjointed. Fortunately, the sense of drama Muse have cultivated over the years provides just enough glue to tie the album together so that fans won't have too much problem navigating its choppy waters, and though not all of the band's experiments necessarily pay off, the album feels like a worthy proving ground for the ideas that will take the band boldly into the future.

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Product Details

Release Date:
10/02/2012
Label:
Warner Bros / Wea
UPC:
0825646568796
catalogNumber:
532065
Rank:
6104

Related Subjects

Tracks

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Album Credits

Performance Credits

Muse   Primary Artist
Beth Anderson   Choir, Chorus
Walt Harrah   Choir, Chorus
David Campbell   Conductor
Karen Harper   Choir, Chorus
Scottie Haskell   Choir, Chorus
Clydene Jackson   Choir, Chorus
Raven Kane   Choir, Chorus
Alan Kaplan   Trombone
Nick Lane   Trombone
Steve Madaio   Trumpet
Don Markese   Baritone Saxophone
Charlie Morillas   Trombone
Bobbi Page   Choir, Chorus
Tom Saviano   Tenor Saxophone
Kim Scholes   Cello
Josefina Vergara   Violin
Oren Waters   Choir, Chorus
Joseph Meyer   French Horn
Dave Stone   Bass
Susie Stevens Logan   Choir, Chorus
Suzie Katayama   Cello
Wayne Bergeron   Trumpet,Soloist
Guy Maeda   Choir, Chorus
Sara Parkins   Violin
Greg Whipple   Choir, Chorus
Edie Lehmann Boddicker   Choir, Chorus
Nathan Campbell   French Horn
Sarah Thornblade   Violin
Chris Wolstenholme   Synthesizer,Bass,Vocals
Matthew Bellamy   Synthesizer,Guitar,Keyboards,Vocals
Dominic Howard   Synthesizer,Percussion,Drums
Reid Bruton   Choir, Chorus
Dave Walther   Viola
Greg Jasperse   Choir, Chorus
Alyssa Park   Violin
Andrew Duckles   Viola
Gerardo Hilera   Violin
Songa Lee   Violin
Aaron Page   Choir, Chorus
Joanna Bushnell   Choir, Chorus
Christian Ebner   Choir, Chorus
Craig Gosnell   Trombone
Antonio Sol   Choir, Chorus
Kathryn Reid   Choir, Chorus
Steve Richards   Cello
Robert Joyce   Choir, Chorus
Michele Richards   Violin
Gabriel Mann   Choir, Chorus
Gerald White   Choir, Chorus
Serena McKinney   Violin
Alma Fernandez   Viola
Chyla Anderson   Choir, Chorus
Erika Duke-Kirkpatrick   Cello
Michael Geiger   Choir, Chorus
Tamara Hatwan   Violin
Mario de León   Violin
Matthew Funes   Viola
Karen Whipple Schnurr   Choir, Chorus
Rodrigo D'Erasmo   Violin
Charles Findley   Trumpet
Teri Eiko Koide   Choir, Chorus
Daniela Savoldi   Cello
Kevin Connolly   Violin
John Kimberling   Choir, Chorus
Kimberly Lingo Hinze   Choir, Chorus
Tom Kirk   Chant
Ruth Breugger   Violin
Oscar Hildago   Bass
Katie Razzall   Spoken Word
Francesca Proponis   Choir, Chorus
Baraka Williams   Choir, Chorus

Technical Credits

Muse   Producer
Adrian Bushby   Engineer,Additional Production
Chris Wolstenholme   Composer
Matthew Bellamy   Composer,Orchestral Arrangements
Tommaso Colliva   Engineer,Additional Production
Paul Reeve   Vocal Producer
Alessandro Cortini   Engineer

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