Album Title
Artist IconMuse
Artist Icon The Resistance
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First Released

Calendar Icon 2009


Genre Icon Alternative Rock


Mood Icon Rousing


Style Icon Rock/Pop


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Record Label Release

Speed Icon Warner Bros. Records

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Album Description
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The Resistance est le cinquième album studio du groupe de rock britannique Muse. Édité par Warner Bros., il est sorti le 11 septembre 2009 en Belgique, Italie et Allemagne et le 14 septembre 2009 dans le reste de l'Europe. L’album a été produit par le groupe lui-même et mixé en juin 2009 par Mark Stent.

L'album est classé numéro 1 des charts dans 21 pays à travers le monde, une semaine seulement après sa sortie comme la France, l'Angleterre, ou encore l'Australie. En se classant en première position des charts anglaises, le groupe réalise la meilleure vente de disque, et de loin, de 2009, pour une première semaine (148 000 albums vendus). Il réalise également son meilleur classement aux États-Unis en se classant 3e. The Resistance est le 8e album le plus vendu en 2009 dans le monde. Au Canada, l'album est certifié disque de platine (80 000 ventes) en mai 2010, soit 8 mois après sa sortie. Il est également l'album le plus acheté de l'année 2010 sur la plateforme de téléchargement ITunes. Le 13 février 2011, il remporte le Grammy Award du meilleur album rock.

Avec plus de 760 000 albums vendus rien qu'en France et plus de 5 millions dans le monde, The Resistance reste l'album le plus vendu de l'histoire du groupe.
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Album Review
Less earnest and self-regarding than Radiohead and less free trade-hippie than Coldplay, Muse know exactly how guilty a pleasure they can be. Stuffing their albums with sing-along pomp and circumstance, their days as sub-prog pariahs have long since passed.
Comparing The Resistance with its 2006 predecessor, Black Holes and Revelations, is never going to be easy. The latter was an audacious leap into the hallowed area where cosmic meets commercial in a way not seen since Dark Side of the Moon. There is a distinct development here, but a self-produced heaping on of classical motifs and Queen-style histrionics isn’t necessarily the one we were hoping for. It’s not that they’re taking themselves too seriously, more that you’re never sure if the listener is supposed to.
It all starts splendidly with Uprising. While owing the late Delia Derbyshire some royalties with its Dr Who theme glitter stomp, it shows that Muse know how to whip up proper chart action. Pop sensibilities create a certain tension throughout, although by the closing three-part ‘symphony’, Exogenesis, they’ve jettisoned such relative restraint for string-drenched overkill, albeit laced with incomprehensible semi-sci-fi shenanigans. Still, this final folly/masterstroke works well because, despite its grand designs, it has a touch of ELO magic about it.
And speaking of grand designs, The Resistance retains Bellamy’s preposterous adherence to conspiracy theories ”“ it’s maybe this that stops it being a solid gold classic. The mismatch between a rapidly maturing musical vision and chunks of John Perkins’s Confessions of an Economic Hitman puts Muse firmly back in the X File marked ‘life’s not fair and someone’s to blame’.
Having said that, quoting Chopin or Saint-Saëns verbatim isn’t necessarily maturation either, but time and again Muse remind you of how good they are at making your pulse race. MK Ultra is a coruscating live favourite-in-waiting, while I Belong to You has enough 70s piano-driven bounce to make you forget all the grim paranoia lying beneath the surface.
At times Bellamy can sound like a rock equivalent of Mulder as he wails “I want the truth!” on the rabble-rousing Unnatural Selection. Someone should tell him that the truth lies in his band’s very capable hands. Muse remain a national treasure, but not one that Nicolas Cage is likely to find.
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