I like to think of REM as a group of slightly-deranged mad scientists. I envision their studio as looking something like a wrecked trailer park in the aftermath of a tornado, with junk strewn all over the place. Perhaps random bolts of electricity snap through the air from time to time. Thick fumes waft through the air from vile test tubes. And there, in the middle of the chaotic lab, stand the brilliant men from Georgia, cackling maniacally, waiting for a crisp sword of lightning to strike their latest creation, bringing to life yet another ingenious monster.
You see, since the early 80s, REM have consistently brought wonderful, imaginative sounds, heroic guitar solos, unforgettable melodies, and delightfully poetic and real characters dancing into the stereos of millions. And, more often than not, they've been met with high esteem and laud from critics and fans alike. In fact, many consider Automatic for the People to be one of the great rock albums of the past twenty years, and Out of Time's hit single "Losing My Religion" is thought by many to be the greatest song of unrequited love this side of "With or Without You."
Alas, one of the band's scariest creations to date, their ninth album, Monster, made most fans, well, afraid. Many of the band's longtime supporters seemed to be more interested in hearing Automatic 2 or Out of Time Again rather than this new sonic creation. Thankfully, REM has never shied away from following their creative muse, regardless of what fans or radio DJs think, and so it was likely with that mindset that, in 1994, they unleashed the strange but ultimately rewarding Monster on the world.
Just one look at a printout of the lyrics will tip you off that this album is an entirely different beast than previous REM output. Gone are the uplifting calls to action like "Stand" and the relatable tales of lost love like "Losing My Religion." The characters that singer/songwriter Michael Stipe creates on Monster are about as terrifying and grotesque as they come; Flannery O'Connor would be proud, and I'm sure Thom Yorke finds some gleeful satisfaction in listening to these devastating stories. "What's the Frequency, Kenneth?" is the story of a cynical, frustrated old man trying in vain to relate to the culture around him. The protagonist in "Crush With Eyeliner" is pursuing happiness in all the wrong things, taking refuge in the superficial and the fake. "I Took Your Name" is the taunt of someone who can literally steal identities, something that isn't at all far-fetched in today's information age. And "I Don't Sleep, I Dream," one of REM's darkest songs ever, is a disturbing confession of obsession and lust. Monstrous, indeed.
But, as any mythology buff will tell you, a monster is nothing without a hero. In this case, that hero is none other than Peter Buck, REM's own, honest-to-goodness guitar god. Buck employs different tactics on Monster than on previous REM outings, though; instead of his usual pointed hooks, he does battle with Stipe's fiends and creeps with a strange buzz, a wall of sound that takes The Edge's experimentation with feedback and echo a step further. It's a mad sound that Buck makes here, but then, what were you expecting? These are, after all, the labcoat-clad mad scientists of REM.
Just when the cold, calculated guitar hum threatens to make the record sound homogenous, REM wisely throws in a change of scenery. "Tongue," a wonderful throwback to the sounds of 60s soul, is propelled by a frothy blend of piano, organ, and a falsetto performance from Stipe that would make Bono proud. Similarly, "King of Comedy" is delivered in a steady rasp, vaguely resembling the monotone rap of "It's The End of the World as We Know It."
In the end, this Monster story is simply not as endearing as the hooky pop of Out of Time or the later, dreamy oceans of sound on Reveal. But then, what is? Some fans seemed to want REM to repeat themselves, but REM took the exact opposite route, sidestepping redundancy with the low rumbles and bleak cynicism of Monster. Good move. While not quite a masterpiece, this album stands as a bold experiment and an enjoyable exercise in loud, sweaty, grungy guitar rock, a Monster well worth taming until REM once again finds the perfect combination of frothy potions, unlocking the cage of their next remarkable creation.
Review summary:
1. What does the album sound like?
Like REM playing grunge. The band has always been tight, but Stipe is in especially fine form here. And Peter Buck? Well, Monster might just be his finest hour.
2. Is the album well made?
Yes, it's a grand experiment in new styles for the band. They just don't make guitar heroes like Peter Buck anymore.
3. Will you enjoy the album?
Not at first, probably; this is one of the ultimate "grow-on" albums. But give it time. Fans of down and dirty rock 'n' roll will likely find themselves greatly enjoying it after multiple spins.
4. Final score: 4 out of 5.
4/5
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