NOTE: This is an overview of the new REM album that I very quickly threw
together for the magazine for which I write, Beat Magazine in Melbourne. With
less time than I usually like to spend with an album before deadline, it may
read like a shallow rush job. If so, that's because it is. :-) It is also the
first published review of the album in Australia. A rating out of 10 appears
in the printed version but is omitted here; I prefer not to grade albums this
way, and only do so because it's the magazine's format. I prefer to allow the
reader to draw their own conclusions. - Anthony
REM
Monster (Warner Bros)
Over the last couple of albums, REM have been mellowing into something of
an acoustically correct band, with heartfelt ballads, lush strings and a
generous helping of mandolin steering the band in an entirely different
direction far removed from the electric ethic of their earlier albums. With
the last few years of REM's musical history in mind, "Monster" is a very
surprising beast indeed - though in reality, it's not an entirely
unexpected change. Reportedly inspired by Michael Stipe's desire to have
some more energetic material to play live, this album is the sound
confident band tired of fussing for months in a studio creating sound
canvases dropping their pretensions, picking up the instruments they
started with, and playing a spontaneous gig. Recorded mostly live in the
studio with Scott Litt, it's an album with more bite and less subtlety than
recently converted REM fans will be expecting.
Intentions are clear right from the opening seconds; "What's The Frequency,
Kenneth?" - the first single - is propelled by a razor-edged guitar that
launches a white-hot mix that is all chaos and drive. Those familiar Stipe
pop hooks are there, of course, but this is an REM that we haven't heard
since the IRS days, and it's a welcome return. "Crush With Eyeliner"
continues the feel, feedback guitar and rhythmic swagger building to a
subtle chorus - it's like Sonic Youth with decent production, and the
appearance of Thurston Moore on this track all but confirms its intentions.
"King Of Comedy" takes a sequencer-driven metallic drum groove and overlays
another killer pop song - with glam backing vocals! - while "I Don't Sleep,
I Dream" is at a polar opposite, a slow, dangerous visit to blues-tinged
Lou Reed territory. "Star" is back in vintage early REM territory with a
90s spin added in the mix, and "With Love Comes Strange Currencie" is as
close to latter-day REM as recent fans are going to get; a big ballad as
only Stipe can write them, this one almost veers into soul territory. But
with grunge guitars.
"Tongue" takes the influence of the previous track one step further, a
virtual re-run of "Tracks Of My Tears" complete with falsetto vocal and
hammond organ. "Bang And Blame" borrows elements of the melody from "Losing
My Religion" for its verses but discards the whole idea for the chorus, a
perfectly executed guitar release. "I Took Your Name" sees the return of
affected feedback guitar in a sonic workout that takes roots rock and turns
it on its head. "Let Me In" is simply a wall of distorted, discordant
guitar for its entire duration, Stipe's vocals plaintively forcing their
way through. It shouldn't work, but it does, and perfectly. "Circus Envy"
is the only disappointment on the album, a Stooges-like grunge-fest with
plenty of attitude but not a great deal going on in the melody department;
final track "You" visits Doors territory in feel, a dark emotional outburst
that sees out the album on a disturbing note, ensuring it stays with the
listener for a long time afterwards.
"Monster" is quite possibly REM's best album in years - like their other
work, it needs time to sink in and be appreciated and explored, and a mere
three days with this album is not time enough to give anything but a casual
overview. But in the process of finding themselves bored and trying
something a little drastic, REM have re-ignited the white-hot flame of
sheer excitement that's been missing in their records for so long, and that
excitement alone is worth spending time with this record for.
This review is Copright 1994 Anthony Horan and Beat Magazine; use of this
review in any way is not permitted without specific permission; however,
free redistribution via the Internet is fine.
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