Muse is a band that pioneered their own form of alternative rock, adding in a wide knowledge base of music theory and sound design while managing to stick to the classic rock ideology of “less is more”. With earlier cuts like Hysteria and Citizen Erased later giving way to bigger hits like Knights of Cydonia, Uprising, Madness, and Pressure, it’s quite easy to say that Muse’s sound has seen an interesting evolution.
For me personally, while I loved the heavier edge of 2016’s Drones, their last album, 2022’s Will of the People, really didn’t do much for me. I have to admit that I thought Muse were out of ideas. What I thought were going to be impactful songs like Kill Or Be Killed ended up leaving no real impression, though I will admit that I enjoyed the closing track that I should probably not name without censoring. Going into The Wow! Signal blind is a thought that I found intimidating, but I have seen the reaction to these songs as they’ve been released, and it makes me curious to hear them.
The album begins with an atmospheric, almost ominous sound effect before leading into the intriguing opening riff of The Dark Forest. Melodically, the vocal lines remind me of The Globalist from Drones, while the music has evolved once more into something I’d put right between Drones and 2017’s Simulation Theory. Lyrically, The Dark Forest explores the theory that the reason we haven’t found other sentient life from other worlds is that they’ve hidden to avoid annihilation upon contact. While the first two and a half minutes build up intrigue, the second half of this song absolutely slaps, with the riff after the Latin choir making me rock out in a way I haven’t in a good while. For anyone after a translation for the back half, here is a loose translation: “Holy Signal / Lord, God / Highest Comet / Chariot Machine / Ship / Lightbringer / morning star / planet Venus / Lord, have mercy”.
Next up is Nightshift Superstar, and this one is a lot of fun! This goes back to more of the Panic Station-esque feeling from The 2nd Law. Chris Wolstenholme’s bass skills are on full display here alongside the more synthy elements. While I can’t really find a direct meaning for this one, I also don’t feel like Nightshift Superstar is the kind of song that exists for deeper commentary. This is clearly a very dance-oriented track, and it nails that brief perfectly!
Shimmering Scars is another different sound, here taking on more of a piano ballad form to start before bringing in more of the rock elements. Lyrically, this is about a failing relationship where the second person is withdrawing without ever giving a reason as to why. It’s a very heartfelt track, and I love it. Matt Bellamy’s vocals are soaring here, and I really love the interplay between his guitar and the bass in the instrumental moments! I really like the use of “I carried half the blame”, commenting on how this relationship took two people to break it. It’s a very mature line, even if a little overused in the bridge.
Cryogen immediately takes me back to Origin of Symmetry, especially Plug In Baby. While I’m not a fan of the vocal effect used in this one, this song really hits me with nostalgia from the get-go. Lyrically, I can feel a bit of continuity between this and Shimmering Scars, since Matt’s lyrics here speak of a girl as an evil queen whose love is synthesized. The pre-chorus is the main point to me that brings the two together, speaking of the way she left him “running through a frozen polar desert wilderness” feeling empty, which feels like the relationship turned bitter. But really, the highlight of the whole song is the last minute or so of killer jamming! Man, what a great moment. Chris has a cool little bass lick in there, while Dom Howard’s drums just kick it up to ten!
Be With You is the first one that I haven’t really felt as of yet. It’s not that it’s bad, but it’s less of the style I’ve come to love from Muse overall. The synthy pop thing was a side of Muse that just never really took for me. As far as that style goes, Be With You is a fine addition, but as far as their more mainstream singles have gone, I feel like I’d rather listen to a song like Starlight or Mercy. At only three and a half minutes though, this is relatively harmless and an enjoyable enough listen. I appreciate the reference to Do Not Go Gentle Into That Good Night by Dylan Thomas at the top of the second verse; I thought that was a good touch.
I have always thought that Muse were a band that utilized some progressive elements masterfully, and Hexagons is definitely a song where they show it off well. From the intro, I knew this song would be something special. Utilizing an odd 6/4 time signature, the song makes many references to the number six throughout. Lyrically, this song is your more standard Muse fare, with concepts of conspiracy theory and control at the forefront. Overall, this feels right at home alongside some of Simulation Theory’s stronger offerings, but with a few more rocking elements thrown in, like the intro that makes me think of bands like Iron Maiden and Van Halen.
The ending of Hexagons leads straight into The Sickness In You And I. This song kicks off with a real heavy, almost sleazy-sounding riff. I honestly feel like this song is a little more sexual in nature, though set to some of the heaviest metal sound that Muse has given us in a long while. This is a great jam song, though another I wouldn’t look for deeper meaning in. Play it loud!
Unravelling is another banger that blends the synthy sound with more high-octane riffage, which is certainly assisted by Matt’s new eight-string guitar. Hell, the middle break features a moment of something close to Djent in my ears. This is back to your usual disillusionment lyrics from Muse, though I really love some of the wordplay. This was the first single released for the album, and I have to say it was a really good choice, as Unravelling is a three-and-a-half-minute look into a lyric that encapsulates the theme of the album set against music that feels like an amalgamation of everything that the album has done up to this point.
Hush is a really interesting song, with almost a pop vocal line but a really rocking feel in the instrumental segments. To make it even more intriguing, this song features Ellie Goulding taking over a lot of the lead vocals, which sounds really good! Hush goes back to the Dark Forest theory, sounding like a warning from another civilization to be silent before something else finds us and snuffs us out. Lyrically, this message is portrayed in a little more personal of ways, but set against the themes of the opening track, I feel like my interpretation may be correct.
Space Debris is the closing track, and what a different finale it is. Lyrically, this unites the space themes with the relationship drama of Shimmering Scars and Cryogen. This isn’t really the finale that I thought it would be, honestly, though a great song nonetheless. Space Debris takes on more of an acoustic, almost loungey sound, rather than the heaviness that has taken so many of these tracks. It’s a beautiful ending, with the final spacey sound effect bringing the album full circle.
When the closing lyrics of your album are “Orbit slow as her soul decays | like space debris, she will drift away”, it really does make a lot of this feel like a break-up album in a way. Many of the lyrics throughout the album have seemed to center around two people, instead of the more “there’s this larger conspiracy that threatens to destroy us” ilk of Simulation Theory and Drones. In hindsight, a lyric like “our resistance is mass-produced” from Hexagons ends up feeling more like a callback to “love is our resistance” from 2009. The Dark Forest theory that an intelligent race may not seek contact for fear of annihilation almost feels more like “I wish I hadn’t been in this relationship because it destroyed me”. But hey, that’s just my interpretation overall, and it may absolutely not be what Matt, Chris, and Domhad in mind.
The Wow! Signal is a brilliant album overall. I would highly recommend giving it a listen. I give this an 8.5/10 personally. It’s a lot better than the last two efforts the band has given us, and I certainly look forward to seeing what the band chooses to do with it live for the tour, which kicks off at Summerfest in Milwaukee on July 2nd.
