"Killed by drones," harp the band in unison, in an almost monk-like Gregorian chant, for three minutes, listing the various family members killed by drones, and singing of our age where you can kill from the safety of your home with drones. What we have instead again is another flourish-filled epic in the Muse canon, and certainly the beating heart of the album. It's not a complete reinvention, and is reminiscent of 'Hoodoo' and 'A Soldier's Poem' from Black Holes, nor is it quite the sequel you were promised. "There's no country left, to love and cherish - it's gone, it's gone for good," he croons, with a flick of Freddie Mercury and taking in Elgar's Nimrod, before the balladry peaks and the ultimate, lighters aloft, arena sway-along is born. A countdown from ten begins, and a sweeping orchestra overlays a thrashy Muse - the calm before the storm. Then, OOF - that riff kicks in, and Muse take us on a runaway rock ghost train. It starts with echoes of Black Holes And Revelations, as those Morricone-esque echoes of cinematic spaghetti Westerns return, while Bellamy mounfully stares down a falling dictator: "You were left unprotected to these wild and fragile lands." It's a high bar to match, as said track was the crowning centre-piece of their finest album to date - an operatic work of rock melodrama, an entire album packed into seven minutes, and a song rooted deep in the hearts of all Musers. The one that Muse fans have really been waiting for - the "crazy, ten minute prog nightmare" sequel to Origin Of Symmetry's 'Citizen Erased'. It's almost spoiled by the outro solo and stadium climax. They prove when they tone it down, their class can really shine. Lyrically hackneyed at moments, but one of the most surprising and idiosyncratic earworms on Drones - and a shock that we're eight tracks in and every one could be a single.Ī squelchy synth-fuelled call to arms and power ballad for the space-age, somewhere between Bryan Adams, Journey and Eurovision - yes, really.Ī scorched Earth instrumental begins, not dissimilar from 'Wicked Game' by Chris Isaak or one of U2's less bombastic mombers, before Bellamy soberly sings of needing comfort and companionship, 'Aftermath' follows in the vein of 'Endlessly' - making for one of the more subtle and human numbers on the album. The heavily politicised little beast begins with a legendary speech from John F Kennedy slamming the corruption of democracy through greed, before Bellamy howls "free, yeah I'm free," over a stomping Bowie-esque groove punctuated by some Queen anthemics, in a glam-metal call to arms with political descent and revolution. Starting with a classic Muse searing riff with bone-shaking rhythms, 'The Handler' carries the solid space-rock heft of numbers from the Absolution era, akin to 'The Small Print', 'Fury' and 'The Groove'. It's almost a sequel to 'Stockholm Syndrome', but with a fire and personality of its own.
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Murder comes home to roost as "home becomes a killing field" and the Drones tale sees faceless, deceitful powers turn the weak into killers on this fast and furious, guitar and rhythm-driven rush of aggression before a falsetto-lead and arena-ready chorus. A close cousin to 'Starlight', it may turn up noses at first, but give it time and it shines as a pristine stadium gem.
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"This is where he realises that he is being overcome by the dark forces that were introduced to him in 'Psycho'." The Drones arc continues with something a little more heartfelt.Ī driving and pulsing piano-led arena power-anthem, 'Mercy' seems to carry a similar feel to material from their Black Hole And Revelations era, albeit with a rejuvenated energy and very forward-looking approach. "The opening line - ‘help me I’ve fallen on the inside' - is a reference to the protagonist knowing and recognising that they have lost something, they have lost themselves," says frontman Matt Bellamy of 'Mercy'. Bellamy may have called it a 'cheap, trashy, riff', we call it 'pure rock pleasure' and an instant classic. The result is a track built to be played live. Leaning on the louder, riff-based edge of their Origin Of Symmetry and Absolution days, the track is sure to please fans of their early work - not least because it's based on a riff that the band have been toying with live for a good 16 years. Whether a direct influence it not, what we have here is Bellamy at his most unguarded and raw-nerved.Īlone and exposed to elements, our character is now open for the world to take advantage - and the future is murder. Bellamy admits that the track is about "a relationship ending and a person becoming dead inside themselves", leading many to draw upon his split from Kate Hudson. A menacing stomper that sets the tone for all that follows - a mechanical military beat underlies a pining and mournful tone, sonically calling upon the drones to overtake the vulnerable.