R.E.M. sure have come a long way from their original lo-fi, jangle pop roots. Met with mixed reviews when it was first released
Up is probably the most controversial R.E.M. album to date. Instead of sticking with their college rock upbringings the trio heavily experimented with their sound and incorporated deep electronics into their music. The ironic shift in sound from
New Adventures in Hi-Fi to
Up is often compared to Radiohead’s change from alternative rock to deep, mournful electronica with their 2000 release
Kid A.
I can only think of two explanations as to why R.E.M. would go for such a cold, keyboard influenced sound. Most importantly drummer Bill Berry shockingly left the band in 1997, one year before the release of
Up. Without a drummer while recording
Up lead singer/songwriter Michael Stipe relies heavily on drum machines and the occasional use of a session drummer. Secondly R.E.M. ended their nine year relation with co-producer Scott Litt handing over the production duties to Peter Buck and Pat McCarthy. In result
Up is an odd clash of sparkly keyboard tones, charming acoustic arrangements and Michael Stipes strange yet emotional vocal delivery.
As controversial as it is I think that
Up could have been a great effort but the bottom line is that it just has too many flaws. Tracks such as
”Lotus” and
”Suspicion” feature nice blends of lo-key keyboard notes and simple yet catchy guitar hooks.
”Airportman” is another highlight, a slow, melancholic tune that consists of a scratchy synthesizer tone. The trio is at their best when they craft pop songs with slight electronica influences, and they stick with this formula on about half of the tracks. Unfortunately Mr. Buck had a little too much fun in the studio and it really shows bringing what could have been stand out songs into complete catastrophes.
”Why Not Smile” is a horrid blend of countless bleeps and synths, the same thing can be said for
”Daysleeper” which is an odd combination of staccato piano notes and medieval sounding acoustics. It’s easy to tell that R.E.M. where going for a relaxing, soothing electronica release but Buck and McCarthy just add way too many useless keyboard overtones.
Clocking in at sixty-four minutes
Up can be a draggy affair. Despite the flack that it receives R.E.M.’s eleventh studio album isn’t a horrid listen like the bands later work on
Around the Sun (I know, that’s not really saying much) it’s just an awkward experimental phase. While there are moments of promise by the eighth track or so
Up becomes very hard to sit through just because the music isn’t very captivating or interesting. The melodies are pleasant enough, the synthetic soundscapes are a great addition on a couple of tunes but in the end
Up is just way too boring, cluttered, and directionless.
