Muse - Drones [Album Review]

(For a track-by-track review, scroll down) Incredibly back with their seventh studio album are English heavy-rockers Muse, whose return ushers in a familiar sound from previous albums (guitar-bass-drums anyone?). The album, entitled Drones, deals with a protagonist who goes through indoctrination and throughout his struggles on the album, eventually defects. Matt Bellamy has described the concept of the album as "a modern metaphor for what it is to lose empathy", whilst commenting on the stripped-back nature as necessary in order to "reconnect and remind ourselves of just the basics of who we are". But can Drones live up to such high standards for such a raw concept that is quintessentially Muse? 

Up first is ‘Dead Inside’ which takes the classic relationship track and puts a particularly dark spin on it. It is the beginning of the album’s journey and a provides a suitably dramatic start. The song highlights the toxicity of a rather horrific relationship with significant lyrics: “Your lips feel warm to the touch/ You can bring me back to life/ On the outside you’re ablaze and alive/ But you’re dead inside”. Incorporating the elements of horror with incredible bass line simultaneously mixed together with Bellamy’s vocals, there is all the components of a great authentic track - that actually delivers. ‘Dead Inside’ lays a solid foundation for the Drones album with an over-lining theme developing and becoming increasingly apparent. It is indoctrination for the potential Muse fan at its most infectious. You can also read our full review of this song, here. 

A 'Drill Sergeant' interlude follows this up as track 2. ‘Psycho’ shows that Bellamy has lived by his word, with this 'back to roots' style being ever apparent. It is a stripped down performance that incorporates the album’s base themes whilst also adding a psychotic edge, structured by Bellamy’s vocal delivery. It’s sharp, it’s bold and it’s sometimes frightening. This is definitely going to be the marmite track for listeners. You heard it folks, we’re calling it. ‘Mercy’ follows with some emotive lyrics: “Help me/ I’ve fallen on the inside/ And all the men in cloaks/ Trying to devour my soul”. Powerful stuff from Muse, and a more angelic addition especially towards the latter part, no doubt trying to emulate the feelings from the main protagonist as he begins his journey into self-discovery and rebellion against untold forces. If you had the pleasure of seeing Muse live at BBC’s Radio 1 Big Weekend then this was quite the crowd pleaser and the acoustics were incredible. This one has the addictiveness that you look for in a more humanistic Muse track. There are no gimmicks here.

Track 5 is ‘Reapers’ and this one is chocked full of solid riffs and chaotic sounds, with a distinct element of disconnect that supports the overall concept of the album. This is very much an immediate track grounded in a sense of emergency, danger and brutality. Up next is the surprising ‘The Handler’. We're going to come out straight and say that this is a particularly notable song from the album, with its heavy conceptual lyrics about war, indoctrination, submission and rebellion all wrapped up nicely with heavy guitar and drum solos that are trademark 'Muse'. Bellamy’s tenor vocal range is used to full effect, guiding listeners across this triumphant middle-track that is both haunting and familiar. The 'JFK' interlude follows. 

#8 is ‘Defector’ and now we have reached the full rebellious vibe of the album, where the protagonist has fully recognised his situation and has chosen to ‘defect’ and is now “Free/ Yeah I’m free/ Free from society/ You can’t control me/ I’m a defector”. Hang on until 2:40 from a melodic episode that’s particularly notable. ‘Revolt’ follows and considering the strength of previous tracks, this one is a little lacklustre. Whilst Bellamy may be on form, the components just do not work as well together and it’s a bit of an easily forgettable track. The drones may have won on this one. Fortunately, ‘Aftermath’ is here to pick up the pieces. Possessing nostalgic instrumentals, this is something you’d expect to find in a film. With the track depicting the events after rebellion and war, it’s an odd mix of angelic guitar beats and sweet vocal deliveries. However, there is a strange sense of comfort that surrounds this song, which makes it really sticks out, having a strong impact on listeners. 

In at #11 is ‘The Globalist’ and we are going to keep it short and sweet with this one. We thoroughly recommend going to listen to it for yourselves to fully understand. Yes, we know that’s a bit of a cop-out (go listen to it anyway). ‘Drones’ concludes the album, and ok, now we’ve officially lost the plot. This almost-3-minute-venture may as well come straight off a Christmas carol list. Except it’s essentially depicting severe mass murder: “Killed by drones/ My Mother, my Father/ My sister and my brother/ My son and my daughter”. It’s all very apocalyptic and resounding, something you’d find from a movie soundtrack, no? Overall, it’s suitable for the type of album Muse is going for even if it is a bizarre addition.

Overall verdict:

Drones has Muse going back to the basics (how many times have you heard that before?) but this time with a political edge, and although the political message and lyrical content is sometimes not that sound or well-structured, the vocals and instrumentals are on point. All in all, Muse have created a whole mound of songs that range from the bizarre to the haunting with a few gems churned in for good measure. Whilst the lyrical content will no doubt be up for debate, you can’t deny that Muse hit some extremely high notes across the album, with ‘The Handler’ being an undeniable winner, along with ‘Mercy’, ‘Dead Inside’ and ‘Aftermath’. Muse have certainly proven they work best without the sci-fi gimmicks of past albums, with Drones being a more comprehensible and competent album.