This is the second album on the
Odyssey entitled “Up” – the last one was Great Big Sea’s 1995 album, reviewed
way back at Disc 374. No, they're not the same.
Disc 1041 is…Up
Artist: R.E.M.
Year of Release: 1998
What’s up with the Cover? This is what it would look like
if R.E.M. was some kind of corporate entity. I imagine the offices of R.E.M.
worldwide headquarters would have a lot of offices with frosted glass walls furnished
with white molded chairs where staff could gather and discuss their corporate
vision, maximize their synergy, and think outside the box. Yuck.
How I Came To Know It: I already liked R.E.M. when this
album came out and I liked the single “Lotus”
which got a modest amount of airplay on music video stations, so I took a
chance and bought the record.
How It Stacks Up: We have six R.E.M. albums, and I had
originally reserved last place for “Up”. However, I ended up liking it enough
that it knocked “Monster” down to sixth instead. Since this also represents the
end of the R.E.M. journey on the Odyssey, here’s a recap:
- Automatic
for the People: 5 stars
(reviewed at Disc 563)
- Life’s
Rich Pageant: 4 stars
(reviewed at Disc 662)
- Document: 4 stars (reviewed at Disc 544)
- Out
of Time: 3 stars (reviewed at
Disc 145)
- Up: 2 stars (reviewed right here)
- Monster: 2 stars (reviewed at Disc 1011)
Ratings: 2 stars but almost 3
Listening
to R.E.M’s “Up” made me realize what a seminal band they are in the early
development of what we now call “indie rock”. If you had never heard of R.E.M.
and you heard this album, you’d think it was the first album by some modern
indie band, not the 11th album by a bunch of rock legends. While “Up”
isn’t their strongest effort, it still sounds fresh and current, nearly twenty
years after its release.
The
record feels softer around the edges than a lot of their earlier efforts, with fewer
rock riffs, and more rounded out synthesizer sounds. Even Michael Stipe’s signature
vocals are quieter, although they maintain their distinct mix of vibrato and
angst.
There is
a lot of soundscaping going on, with eastern rhythms mixed in with the lilt of
western melodies. I like the mix of influences and the willingness to reject
the boundaries of genre.
The
songs have a majestic slow build, although at times there is a bit too much
majesty and not enough movement, making things drag in places. I like a little
drone for effect, but I wished they’d got on with it more often.
After a
bit of a ponderous start that had me worried for the future, the single I
bought the record for got me in the groove. “Lotus” has a lascivious guitar lick that would be at home on a
Mudcrutch album, mixed with a pseudo R&B groove. It is a lot of fun with just
the right amount of grit and grime.
While “Lotus” is an energetic rock song, the
album mostly feels like it has been wrapped in a cozy blanket of regret. These
songs are about how things are sad, but the sadness has an acceptance to it –
part resignation and part wisdom, depending on whether you are feeling depressed
or upbeat when you happen to be listening.
The best
song is “Sad Professor,” which
captures a character trapped in deep melancholy, made worse by their complete
and total understanding of themselves. When Stipe sings:
“Everyone hates a sad professor
I hate where I wound up.”
You can
feel the pain of the character knowing he’s letting people down, but who can no
longer muster the energy needed to climb out of it.
Regrettably,
while there are a few other poignant and emotionally engaging songs on the
record, they are spread a bit too thin on a record that - at 64 minutes and 14
tracks – feels bloated. The overall quality of the record is solid, but when
you are wallowing this deep, you need to come up for air a little more often or
you lose the tension built up from holding your breath in the first place.
For all
that, there are enough tracks on this record that I can’t see myself living
without, so I’m keeping this one, warts and all.
Best
tracks: Lotus,
Sad Professor, Why Not Smile, Daysleeper, Falls to Climb
No comments:
Post a Comment