When REM first burst onto the music scene with their breakthrough album “Murmur,” the band imposed upon themselves a strict policy banning the use of synthesizers. This was done as an attempt to distinguish the band from the rest of the music of the time.
Sometimes I wish the band would return to this policy.
Since the start of the 1990’s, REM has slowly been moving away from their trademark jangling guitars and more and more towards a synthesizer-dominated band. While they are far from Depeche Mode, the current REM is a far cry from what the four boys from Athens once were. However, this is not necessarily a bad thing. Some of the band’s best work, namely “At My Most Beauitul” from the otherwise dismal album “Up,” and “The Great Beyond” from the “Man on the Moon” soundtrack, has been produced in the past few years. Yet for the most part, the band’s most recent works has a cold, removed feeling to it. The band, in dire need of a return to what they do best, writing irresistible melodies over distinct chord patterns, went into the studio and produced their newest work, “Reveal.”
“Reveal” is neither the best nor the worst of REM’s albums. It is simply not an album of extremes. Yet, it was a vitally important album for the band to make. The album features some of the studio experimentation they have been working on in recent years. One example of this is the final track, the aptly named “Beachball.” While the track “Summer Turns to High” has been repeatedly called a tribute to Brian Wilson by the rock press, “Beachball” is much more in the vein of studio master Wilson. The album also features some of the country experimenting the band did on “Automatic For The People,” namely in the tune “All The Way To Reno (You’re Gonna Be A Star).” And, the band features a classic REM tune in the tradition of “Losing My Religion” and “Man on the Moon” with “Imitation of Life.” With this variation of tunes, the band achieves the middle ground of experimentation along with traditional songs.
The album opens spectacularly with “The Lifting.” It is an extremely beautiful song with an ascending chord progression and a beautiful melody. It is the perfect track to open the album. The other best track is “Imitation of Life.” This song has already started to gain heavy rotation on the airwaves, and at first listen it is obvious why. The chord progression is immediately catchy, and the vocals are classic Michael Stipe. Even the lyrical hook of “This sugarcane/ This lemonade/ This hurricane, I’m not afraid./ C’mon c’mon no one can see me cry” is reminiscent of the kicking rock band REM once was.
“Reveal” is full of many beautiful melodies, but the album drags at times. Much of the “experimentation” simply feels like unnecessary filler. If the best material from this album and the best material from “Up,” the band’s previous release, had been culled into one collection, a truly great record would have been made.
“Reveal” is a decent album, with a few good songs. But its greater importance is the significance it holds for REM. The band has been in rough waters with the quitting of drummer Bill Berry and the disaster that was “Up.” “Reveal” marks a renewed dedication to creating great music through a mix of new sounds and experimentation combined with the band’s instantly recognizable chord progressions and melodies. There is nothing remarkable about “Reveal,” but REM is a remarkable band that needed a big kick in the rear. Consider “Reveal” a really big foot.
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