For example, let’s think of the fascination many people in situations of mental and material weakness have towards religious sects. In this sense, the lyrics perfectly fit Muse’s dystopian imagery presented in most previous albums ( The Resistance above all), as well as a concrete criticism of any institution trying to discourage critical thinking. The song is written from the perspective of a not yet revealed organisation, presumably the villain in the record’s storyline, trying to circumvent vulnerable people with promises of safety, protection and removal of fear and pain. That song was written literally at that moment.A catchy synth-rock tune with ‘80s sounds, “Compliance” is the second single anticipating the band’s ninth studio album. I don't have it very often, but if I did ever have a moment where, late at night, I can't sleep, and all those thoughts start going around, like, 'What's going on? All these natural disasters, all this stuff that's happening, civil unrest, blah, blah, blah.' It puts you into a panic. That song literally sums them all up, I think. But I was really pushing him on the double bass drum stuff.” That is us going, 'Okay, if we're going to go heavy, let's go heavy.' Dom had a different kit for everything, pretty much. Whenever I go loud, that’s where it goes. Well, the 'ugh!', it just came out like a high-pitched falsetto wail. “It's the first death growl ever on a Muse record. It really is a direct expression of that loneliness, and also the tragedy of what was happening for so many people.” This song was in my mind in that world: me on the piano, singing alone. During the pandemic, I did a couple things on my own, just on the piano, acoustic. I was surprised that Dom and Chris even wanted that on the album. I think the democratic structure is amazing in, but as everyone knows, the lobbyists, there’s so much corruption there.” The question is, is there any common ground here that can be found to bring these people together? I think the common ground is that there's a need for systemic change, like in the way politics is done, potentially. “It’s idealistic, but I always try to have some hope that these two schools of thought, which are opposing each other in the US right now, can come together. We just feel like we're a part of this generation where something's going to go down in a major way.” And now we're dealing with real external threats. Something’s going on in the West-a kind of collapse, a kind of division has been emerging. “Our generation has seen this huge change. So we're excited for the future.” Below, Bellamy talks through some of the tracks on Will of the People. “If I had to pick one thing that I'm fighting for, it's can we create a revolution? Can we create change here, where it isn't violent and it doesn't lead to an authoritarian vision? We've still got ideas and things we want to do that we haven't done yet. Frustration abounds, and the band has never sounded so large. Now we’re in it, and so are the songs: The Queen-esque “Compliance” takes aim at a culture of bad-faith actors “Liberation” is glam rock against disinformation. “I think in the past, a lot of our stuff's kind of delved into fictional dystopia, like George Orwell.” “It feels a bit closer to reality this time,” Bellamy says. In many ways, it sets the tone for Will of the People, Muse’s ninth full-length and first LP in four years: They needed to sound louder and angrier than ever before, because they’re no longer writing about future anti-utopias-the struggles are here, now. “Because metal, it turns out these metal players are absolute geniuses.” He is, of course, referring to “Kill or Be Killed,” arguably the heaviest track in the English rock band’s 28 years and nine studio albums. “It was nice to actually find something that we weren't good at, and actually try and get really good at it,” Muse singer Matt Bellamy tells Apple Music’s Zane Lowe.
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