When Michael Stipe breathily intones the words "great opportunity" on the opening track of the latest REM album, it becomes obvious this summarizes how the three remaining members of the band see their first album since the departure of drummer Bill Berry. Their new sound is quite different from anything we've heard them do before, and in a number of places this album bears more resemblance to art-pop bands like His Name Is Alive than to the REM of old. Of course, there are still some reference points, but the vocals are the main one. The result is a project with few comparisons among other high profile acts. Even in light of REM's current electronica elements, to my knowledge no other electronica band has ended up in this particular section of the musical spectrum.
Lyrically there are many strong tracks which are difficult to completely fathom. Spiritual and emotional themes figure strongly, from the imagery of the lotus on the track of that name to the postmodern address that is "Hope"--the standout track for me:
you want to trust religionAlthough their scepticism towards established western religions is obvious, there is also thread of truth. Too many Christians do stick to their own preconceptions of what the Bible says, in effect shaping their own story, if not writing it. The song is engaging, even if it doesn't meet with your particular convictions. The track itself is built over a repeating synthesizer loop and is heavily textured in a way that is very reminiscent of His Name Is Alive's latest album. Stipe's laboured vocals suggest a sort of weariness with uncertainty, which is a feature of much modern thought.
and you know it's allegory
but the people who are followers
have written their own story
Other tracks incorporate stringed instruments and the piano to a large degree, but a few tracks end up feeling a little bloated because their symphonic sides don't flow as well as some of the other tracks. Gratefully, plenty of strong harmonies and interesting melodies counterbalance most of this effect. Radiohead's producer, Nigel Godrich, was involved in engineering the album. While the two bands don't directly share much common ground (although Michael Stipe and Thom Yorke sometimes employ similar vocal inflections), REM's attempt to push the boundaries of the popular music fan's palate is similar to Ok Computer.
Another standout track for me, "The Apologist," will also grab the attention of listeners versed in Christian terminology. While parts of the arrangement sound almost chirpy, this particular track has a foreboding, ominous feeling that is difficult to pin down. Punctuated with the words "I'm sorry," it's easy to see where the track got its name, but perhaps there is a link with the Christian use of the term in the title. Consider the second verse:
did you understand me right?Whatever this song's intentions, REM obviously continue to be a band with plenty to say. Although some fans of REM's earlier work may find this one harder to appreciate, this album offers plenty of twists to keep the intrigue up and suggests exciting things to come.
the people here are good.
they tell me what I should have done
and offer what I could.
I'm good, all is good
all's well, no complaints.
when I feel regret,
I get down on my knees and pray.
I'm sorry, so sorry...
By James Stewart (11/16/98)
