Most artists can only dream of one day coming across a sound all their own. After working hard and playing gig after gig, you transition from your influences on your fretboard to your own identity, ready to take on the world with the sound you know you work best with. sure, you’ve got a loyal fan base behind you… but it can also get incredibly boring after a while.
No one wants to play the same kind of songs forever, and each of these artists has shed their genre label by taking a risk on each of these tracks. There’s a lot more to play outside of the rock and roll genres, and these songs were just a small portion of what each of these bands could do outside the confines of their normal set-up, with songs that hit with the same amount of power but with a different musical DNA.
It’s not about going from nu metal to hard rock either. For almost all of these songs, you’ll wonder if these artists even qualify as rock when they make songs like these. However, they all fit the bill, and running them against the grain is about as anti-establishment as you can get once you hit it hard.
All progressive rock bands have always been fascinated by the world of classical music. Aside from bands that wrote songs that lasted nearly 7 hours with tons of scale exercises, many progressive musicians started taking their talents into the realm of classical music on their own, from Tony Banks of Genesis delving into the classical world and even Jethro Tull doing a version of Bach’s E minor Bourée in their early days. It’s one thing to remind people of their music lessons, but Muse was looking to do the real deal at the end of The Resistance.
We were already primed for the classic turn with Exogenesis earlier on the album, as Matthew Bellamy sprinkled bits of classic tracks on the back half of United States of Eurasia and I Belong To You. Spanning 3 different parts, each section of this symphony feels like it could function as its own standalone piece, like the strings descending smoothly on Cross-Pollination before closing things with Redemption.
While it could have easily been a classic itch that Muse needed to get out of her system, they didn’t stop at this album either, with their epic The Globalist off of Drones also having a classic slant, almost like Citizen Erased somehow got co-opted into a great orchestral mid-track track. Regardless of how something like this could have fallen into the wrong hands, Matthew Bellamy knows the importance of speeding things up and keeping it subtle even without a guitar in his hands.