ALBUM REVIEW: Simulation Theory

It kicked off with raging teenage angst and a lunge at political corruption. Then came warnings that we’re not alone in the universe, followed by serenades that brought us some of the greatest rock love songs, this side of the decade. Now the trio that is Muse bring to light The Simulation Argument in their new album, Simulation Theory.

The Simulation Theory argues that 1: the human species is very likely to go extinct before reaching a “post-human” stage and 2: we are almost certainly living in a computer simulation. We’ve seen it before in popular culture, giving us a taste in Total Recall, The Matrix and even more recently, Adult Swim’s Rick and Morty. But we’ve yet to hear it. The album attempts to embrace the theory, which is evident in some of its lyrics and instrumentation.

Are we just a bunch of 0s and 1s?

The album opens with Algorithm, a pulsating bass and synth-heavy piece, with futuristic undertones. An arrangement of strings and piano are subtly introduced, while the use of vocal multi-tracking pays homage to Muse’s long-term influence: Queen. Algorithm sets the tone for the whole album, hinting at a record that is full of their renowned use of orchestras and “organic” instruments versus their venture into “artificial” instruments such as light-up pads in the place of drum kits and synthesisers instead of guitars. Bellamy’s reminder that “This means war with your creator” opens the discourse about The Simulation Argument.

Pressure is more “conventional-sounding”; there is less use of computer-based instruments. Instead, they opt for their staple instruments: Wolstenholme on bass, Bellamy on lead guitar and vocals, and Howard on drums. With a hint of synths, a homorhythmic riff and a hearty brass section, it almost sounds like it belongs on one of their older albums, as if it got lost along the long road that is their discography. A good track it is, but the lyrics and the arrangement are foreign to the rest of the album.

The band manage to bring an even blend of past, current and future sounds in next track Propaganda; Bellamy’s falsetto and acoustic guitar carry each verse, sharing the melody, while the chorus is reveals a heavily processed and almost robotic voice looping the title “Pro-pro-propaganda” – drilling it into the listener’s head.

Break it to Me took me by surprise. The song is very Prince-esque in its execution, with notable influence from Rage Against The Machine’s Tom Morello. It is reaffirmation of Bellamy’s recent controversial comment regarding the guitar’s future in music: "The guitar has become a textural instrument rather than a lead instrument," he told the BBC. "And I think that's probably a good thing.” The use of breaks, harmonious scales and a somewhat chromatic riff makes this piece stand out the most. The riff could very easily fall into something cacophonic, but he manages to style it out with extra-terrestrial-like synths. 

Score: 6/10

It’s difficult not to compare this album with its predecessors, but it definitely stands alone as an express view that experimenting occasionally works. Simulation Theory, although exciting, fails, at times, to carry the theme and feels like a melting pot of theories and emotions from the lyricist.

I think it’s time to confiscate Bellamy’s library card. Maybe, just maybe the only thing distorted about his reality is his guitar.