Muse – Simulation Theory
(Warner Bros. Records)
Reviewed by Bridget Herlihy.
Its not really any surprise that Muse’s eighth studio album ‘Simulation Theory’ has blasted straight into the number one spot on the UK music charts a week after its release. While the Teignmouth trio’s work has become increasingly polarising over the last few years, there is a gargantuan legion of die-hard Muse fans that are at the ready to lap up anything and everything that the band creates. Yet ‘Simulation Theory’ may have very well left more than a few long-term Muse fans scratching their heads as they entered Muse’s latest sonic odyssey.
One thing that Muse cannot be accused of is making the same album twice. Since their first LP ‘Showbiz’ was released in 1999 (yes, that means next year marks the album’s twentieth anniversary), each and every album has had a different theme and a slightly different feel. ‘Simulation Theory’ is no exception. My first impression of the album was of a somewhat disjointed collection of tracks, and while they still had that distinguishing Muse quality, sounded like they had ventured down a retro synth-heavy path and had consequently become lost. However, over the last week I have repeatedly played, and listened closely, to the album in an attempt to ‘crack’ its labyrinth-like soundscape. And, sure enough, like a new pair of shoes that take time to break in, ‘Simulation Theory’ has indeed grown on me considerably, and revealed itself to be an eclectic aural journey well worth taking.
After the release of the epic ‘Drones’ in 2015, the band promised that their next album would go back to their roots and be more stripped back. Yet they appear to have accomplished the complete opposite. Opening track, the divine ‘Algorithm’, firmly sets the tone for the album, with a long synth and drum heavy intro devoid of Bellamy’s signature guitar licks. One might be forgiven for thinking that they had either travelled back in time to a dystopian Tron-like setting, or into a not-too-distant future world dominated by virtual reality. Never fear, the guitars reappear in the second track ‘The Dark Side’, which has moments that are reminiscent of Origin of Symmetry’s ‘Dark Times’. Several tracks steer towards radio-friendly territory, such as the balladesque ‘Something Human’, ‘Dig Down’ and feel-good anthem ‘Get Up and Fight’, a track which feels oddly out of place with female backing vocals that sound like they have been borrowed from the irritating 90s pop track ‘Two Times’ by Ann Lee (you may not know the name, but chances are high that you know the sing). ‘Break It To Me’ strays into R&B territory, and the result is an infectious track that will get stuck in your head for days. Yet Simulation Theory is still quintessentially a Muse album, as affirmed by the album’s strongest tracks ‘Thought Contagion’, ‘Pressure’ ‘Blockades’ and ‘The Void’.
Yet again Muse has succeeded in pushing boundaries and taking themselves out of their proverbial comfort zone. While it may take a few listens to find that sweet spot with ‘Simulation Theory’, is well worth persevering. For optimum effects, listen loud and/or through a pair of high-fi headphones. You will be transported to a new, alluring and at times fascinating world of sound.
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