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Muse Format: Vinyl

Will of The People

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Format: Will Of The People [Explicit]


Description

This album was created in Los Angeles and London and is influenced by the increasing uncertainty and instability in the world. A pandemic, new wars in Europe, massive protests & riots, an attempted insurrection, Western democracy wavering, rising authoritarianism, wildfires and natural disasters and the destabilisation of the global order all informed Will Of The People. It has been a worrying and scary time for all of us as the Western empire and the natural world, which have cradled us for so long are genuinely threatened. This album is a personal navigation through those fears and preparation for what comes next.


Language ‏ : ‎ English


Product Dimensions ‏ : ‎ 0.16 x 12.28 x 12.4 inches; 10.4 Ounces


Manufacturer ‏ : ‎ Warner Records


Original Release Date ‏ : ‎ 2022


Date First Available ‏ : ‎ March 17, 2022


Label ‏ : ‎ Warner Records


Country of Origin ‏ : ‎ USA


Number of discs ‏ : ‎ 1


Best Sellers Rank: #12,000 in CDs & Vinyl (See Top 100 in CDs & Vinyl) #311 in Indie & Lo-Fi (CDs & Vinyl) #1,018 in Alternative Rock (CDs & Vinyl) #6,072 in Rock (CDs & Vinyl)


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If you place your order now, the estimated arrival date for this product is: Thursday, Nov 21

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Top Amazon Reviews

    • Muse Channels the Zeitgeist
A frantic, frenetic, fraught, frenzied ride, Muse's Will of the People channels the zeitgeist; it is the soundtrack of the inmates taking over the asylum. It's been said that Matt Bellamy's muse is anxiety for the state of the world, and on this album, that specific uneasiness focuses on the idea that our comrade in revolt, this character called Will of the People, will eventually turn into our 'Big Brother,' and whatever answer we find to our myriad problems will turn out to be our next big problem. From the brilliant album art to the very last song, Muse provide no escape hatch, no nod and wink to say, "we're too cool to be taken so seriously." The album's unapologetic intemperance is the point. Maybe that's why all the songs are good, a few are even great, and this album is an essential. In another time and place, before George Orwell's 1984 musings on popular music would prove so devastatingly prescient, it would no doubt be an instant classic. "Will of the People": if you could isolate the exact moment a peaceful protester decides to push it beyond and begin to speak in a language the 'beautiful people' (the caretakers of this asylum) understand, this song is what it would sound like. "Compliance": Chris Wolstenholme's seductive, murmuring bass line is as comfortable and manipulative as well-designed AI, but the chorus is pleading, the synth line a little grating as it seems to nag us to 'go ahead and jump' into their waiting arms. There's something inherently creepy about those who have the power to compel our cooperation choosing instead to beg for it; it's not enough that you comply, but that you do so willingly, happily. "Liberation," Dom Howard's punishing drums -- reminiscent of Tool's Aenima -- juxtaposed with the chilling way Matt Bellamy sings the lyric, "thank you for playing your part in our liberation," sounds like some latter-day Committee of Public Safety tribunal set to music by Queen. Deliciously satisfying, its alternate title could have been Hell to Pay. "Won't Stand Down" sounds like it could be, if it wanted to be, a tribute to the Petrograd garrison forces in 1917 Russia when they told the Tsar that from now on his power structure would have to 'take on the fighting men' instead of just kicking around the civilians. The breakdown in this song kicks it all the way down. "Ghosts (How Can I Move On)" is the only song on the album specifically about the Covid pandemic. It's the sound of the bitter ache of losing someone to the pandemic when the same people who grossly mismanaged the crisis cheerily announce that they will use all that loss as an opportunity to build their idea of a better world, as if all those preventable deaths were just a number on a tally board, as if actual individuals hadn't suffered and died, as if each one of them hadn't left a wake of grief in the void of their absence. Also, there may be pianists in popular music who are more technically adept than Matt Bellamy, but no one past or present elicits such expressive tone from the keys as he does. "You Make Me Feel Like it's Halloween," sounding like a tribute to Michael Jackson complete with Eddie Van Halen style guitar solo, is a contradictory, discomposing masquerade about the paranoia and disorientation engendered by being kept in the dark with an omnipresent watcher who is both needed and feared. But it's fun! You know, like Halloween! "Kill or Be Killed" paints a soundscape of late-stage hyper-capitalism and the way it acts on us, as our 'Handler,' our 'tapeworm that tells us what to do,' bringing out the worst in us, driving us to pathological selfishness. It sounds just like a man who's about to come apart in a spectacular explosion or implosion, figuratively and/or literally. "Verona" is the obligatory single submission of cheesy stadium rock found on almost all Muse albums, but this one is deceptively profound and surprisingly moving, a convincing portrayal of dedication and sacrifice. Reflecting the deep political divisions and strife of our time through a Romeo/Juliet lens, it sounds like Vangelis's "Opera Sauvage: L'Enfant" from The Year of Living Dangerously soundtrack met The Edge and they fell in love. The vocal performance sounds inspired by the sad, desperate defiance of David Bowie's "Heroes." "Euphoria" sounds like a meeting of Donna Summer's "I Feel Love" on speed and "Time is Running Out," like the impatient and frustrated undertones of myriad circuses of gratification drowning out our endlessly befuddled free will. While it would fit equally well as a jingle for a pharmaceutical commercial or accompanying the derby scene in the 1969 film They Shoot Horses, Don't They, it'd be the perfect theme song for modernity's answer to heaven; that is, the conceit that the more time we spend in a state of intense excitement and happiness, the more likely we'll win Best In Living Life, an award posthumously-bestowed and, of course, completely non-existent. "We Are F[redacted]ing F[redacted]ed" takes under consideration the previous nine songs, draws the only conclusion any sane person would, and states it loudly, angrily, and most tunefully. Inhabiting a sonic space somewhere between late Punk and early Goth, this might be the best of the lot. At any rate, it's the perfect finish to an album that acts as medium to the turbulent soul of this age of entropy. It's a deadly serious foreboding, the idea that no good revolution goes uncorrupted. We'd do well to remember it's a thought the powerful of the world -- like Orwell's O'Brien -- want us to ponder with increasingly fretful trepidation; in fact, it's our first stop on our journey to Room 101. Keeping that ever in mind as we dance back into the asylum (not unlike Signaller Charles Plumpick and the rest of the lunatics in the 1966 film King of Hearts), here's hoping we have the courage and good sense to answer in the affirmative if anyone, like Dom Howard at the beginning of the final song, calls out: "Are we playing together?" ... show more
Reviewed in the United States on January 25, 2023 by Emily K. Morgan
    • Muse never misses!!
From the Will of the People to We Are F-ing F-ed, these are all straight bangers. Compliance is probably my favourite off the album, I just adore the neon synth sounds, but Feels Like Halloween is a close second. I never knew I wanted a Halloween song from Muse until this moment.
Reviewed in the United States on January 16, 2023 by Kedaaah
    • GETS BETER & BETTER WITH EACH LISTEN. REALLY GOOD!
I kept listening to songs I liked, the following songs would play through and now I love the whole album. It's very well done, a lot of fun, and definitely grows on you. There are definitely familiar riffs and effects on this album that remind you of earlier material. Great drumming, great vocals, great guitar work, great bass lines layered with the usual tasty keyboards, synthesizer, and percussion. Will of the People is a solid opener. Compliance has some really tasty drumming and is just an all around great song. Liberation is a little slow. Won't Stand Down is great especially when played loud. Ghosts could bring tears to your eyes if you are or were ever married and still love your spouse. You Make Me Feel Like It's Halloween is a really fun song that grows on you. Kill or Be Killed is awesome with great drumming. Verona is amazing with really cool lyrics. It's one of those songs that starts slow, builds throughout, and makes you want to hear it again and again. Probably my favorite song on the album. Euphoria is a really fun up-tempo song. We Are F-ing F'd is a harder song that is really good. There are a lot of songs on this album that will be great live! ... show more
Reviewed in the United States on November 1, 2022 by Tim
    • A comeback album
I've been a Muse fan since 2006. The Resistance was the first album where I was fully aware of the leadup and release. I was ready for something mind blowing, something just as amazing as the Muse I was used to at that point. What I got was the first proper album in Muse's cheesy pop-infused era. Albums like The 2nd Law pushed them even further down that path. By the time Simulation Theory came out, I was resigned to the fact that each new album they produced would only have two or three songs that I really liked, that would become part of my permanent playlist. Now we have Will of the People. Muse finally did something that I thought was impossible at this point; they made a really interesting album. Yes, it has cheesy moments. It has some poppy songs... but they're GOOD. Euphoria is what songs like Revolt wish they could be. It's catchy and full of cool hooks that guarantee the song will get stuck in your head. I really don't like Liberation. Not yet, anyway. Will of the People, the title track, is OK. But the rest of the album is full of great songs that really feel like Muse. If they had released this album back in 2009 I would probably give it four stars instead of five. But it's 2022, and I'm so glad that my favorite band of all time has proven that they can still pull off some proper music. ... show more
Reviewed in the United States on August 30, 2022 by J.
    • GREAT album!
We LOVE this album it sounds great and came well packaged
Reviewed in the United States on January 8, 2023 by Rebecca Farrell
    • Muse!
Fantastic cd
Reviewed in the United States on January 10, 2023 by Tiffany
    • MUSE kills it again.
If you know, you know.
Reviewed in the United States on January 5, 2023 by Fatty McFatfat
    • Best album from Muse in YEARS! Thank you (thank you)!
Muse has been my favorite band since 2007/2008. I started listening to them during the Black Holes and Revelations era. For those who don’t know- every album from Muse is very different from one another. Muse is always trying out new things but they always but their own twist to make it Muse. Matt Bellamy had previously said that this album was going to be a “Best of Muse” album meaning that every song would be new but would have parts from other Muse eras. He was spot on! There are so many songs on here that remind of of “Old Muse” (Origin of Symmetry and Absolution). There are a few piano heavy songs on here and I love them! I personally rank this album as their 3rd best (Origin is my favorite followed by Absolution). There isn’t an album by Muse that I don’t like. This album feels very complete in comparison to some of their recent albums and it tells a whole story. This album was inspired by the worldly events that were going on in 2020 and 2021. I truly believe that there is at least 1 song on this album that anyone will enjoy. ... show more
Reviewed in the United States on August 28, 2022 by Kaceylee

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