If you believe that a band must choose between silly and serious then Muse's appeal will be as puzzling as ever, but they are both at once, just like Queen, or Star Wars.
Is this sounding a bit daft? Well, it is and it isn't. Overseen by AC/DC producer Mutt Lange, it traces an arc from paranoid aggro (the totalitarian glam-rock of "Psycho") to rebel romance ("Aftermath" is basically a war-torn "You'll Never Walk Alone") and, finally, dark ambivalence about human nature. In lieu of a *Flash Gordon * reboot to soundtrack, Drones is the musical equivalent of a Marvel blockbuster, where good and evil collide with the dynamism and clarity of a comic-book cover. Like Queen, who often seemed to be playing the lead role in a stage musical about an implausible fictional band called Queen, Muse represent rock at its most fantastical. "The world is run by drones utilising drones to turn us all into drones," on-message frontman Matt Bellamy helpfully explains. They've addressed the war on terror ( Black Holes And Revelations), state-corporate oppression ( The Resistance), environmental collapse and the financial crisis ( The 2nd Law), and now, well, drones. They have become the world's biggest political rock band without anyone really noticing because they robe their concerns in sci-fi livery. Drones ( Warner Bros) is the Devon trio's fourth high-voltage concept album in a row.
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