REVIEW: R.E.M., Up (Warner)
- Bob Gajarsky
The names of Berry, Buck, Mills & Stipe appeared enough times in print for the foursome to start their own law firm. But when drummer Bill Berry left the band that he had been a part of for the past 18 years, R.E.M. realized they had to turn the page and move on.
Although the departure of their longtime partner and friend came to those involved as a shock, Berry's departure did allow the band to create a different chapter in their history. "We were given the opportunity to totally do anything we wanted to," recalls Mike Mills.
Up is a startling departure from their past, with results which may shock casual listeners. The leadoff track "Airportman" is a lonely, droning song with some feedback thrown in to accentuate the mood. The effect on anyone familiar with R.E.M.'s past will be immediate - this isn't the band you used to know.
And when the new approach works, things progress wonderfully. "Hope" tips its hat to the 80s synthesizers, a cross between Kraftwerk and the Rentals, while nicking part of its structure from Lou Reed's "Suzanne" - to whom they give co-writing credits. "At My Most Beautiful" combines the elements of a slower R.E.M. song such as "Nightswimming" with a lush Brian Wilson (circa Pet Sounds) backdrop. Strings are present in some songs - not in-your-face, but set in the background to complete a song's structure, rather than dramatically alter it.
"Walk Unafraid" - whose title was inspired by Patti Smith - has a hook unlike any R.E.M. song previous (note a trend?) which will capture the listener's ear on the second or third play, and won't let go. And Smith's influence pops up again on "The Apologist" which has an aura of one of her late 70s songs. The first single "Daysleeper" is not unlike earlier efforts such as "Country Feedback", but "Lotus" is the track most likely to click with fans of R.E.M.'s past. With a song structure not far removed from "Crush With Eyeliner", this one might even be taking a poke at a past R.E.M. hit with the lyrics "dot dot dot and I feel fine" - a nod to their own "It's The End Of The World As We Know It."
However, when the trio goes towards a more avant-garde and experimental, things go a bit awry. On some songs such as "Diminished" , Stipe sings passively and dreamily, not at or to the listener, but off in some distant land.
Names such as Brian Eno and John Zorn may flow from the tongue on first listen - or even a Pink Floyd, from the aura and atmosphere created on Up. There are no 'classic' singles here, ones which either are likely to stand out as pop / modern rock hits in 5 years, or those which are instantly recognizable as 'an R.E.M. song'.
Mike Mills summarizes it as follows: "If you came in (to R.E.M.) on Murmur or Reckoning or any of those early albums, you'll know that we veer left and veer right, and that's what you should expect...it's good to show people that, whatever you expect from us, it's probably not what you're going to get."
But what about the millions of fans who came onboard to the R.E.M. bandwagon circa Green or Monster, albums which helped net the Athenians one of the largest contracts in music history? They'll probably be vastly disappointed by the turn of events on Up. And some of the fans who grew up with the jangly signature trademarks Byrdsian guitars will no doubt also wonder where the band went. It takes a brave band to risk commercial failure in order to carve a new, uncharted path in their musical career. With Up, R.E.M. have taken the first step in a brand new musical direction.
