R.E.M. news - yay

Also what "shackles" could explain their last few albums

It's their best album since Scary Monsters, oh wait

I hear it's their best since "Blood on the Tracks."

i am looking forward to this new album less and less -- and i liked fucking Reveal, i mean come on

this is gonna be baaaaad

Meanwhile, what *are* the Decemberists up to with this track, I mean it's so blatant.

https://www.youtube.com/watch?v=0_gykjRkVec

Um, I think the REM single is miles better than any lead-off single they've done since E-Bow Shite.

MaresNest, yes, that one is a blatant R.E.M. rip, BUT, considering Peter Buck plays guitar on that one, its kind of hard to fault the Decemberists.

Ah righty, but that's kinda worse no? 'Hey Pete, yeah buddy, 1984's where it's at, brought yer Ricky I hope'

Of all the albums to say it's the "best since," Out of Time seems a weird choice to me. Sure, it was their most popular, but I think it might be the patchiest in their whole discography (mind you, that's not saying it's their worst). Never mind that Automatic came after OOT!! /nitpicking

Like they had a run of three more albums after OOT that were all superior.

Sure, it was their most popular

I would not be surprised if an artist of such rarified wealth/fame/acclaim eventually convinces themselves that their most popular album is also their best. Because it sold the most copies, you see?

that plus the "15 years and we're back" (which dates back to their last multi-platinum album) does suggest they're quite conscious of their commercial heyday

can a mod plz change thread title to "R.E.M. news - *sigh*..."

thx much

Then again, I can see why bands grow to underrate or outright resent their formative works. It reminds me of a time I went to see Eleventh Dream Day. A fan went up to Rick Rizzo and told him he'd been to two dozen EDD shows. Rick Rizzo was impressed, but then quipped "well, I've been to all of them." So, like, as long as we have all lived with "Murmur," it's not nearly as long (or as deep) as REM themselves have lived with it. Therefore, whatever's freshest may seem the best by default. Call it the delusion of the now.

Maybe. But I would think there are issues of maturity and "We couldn't have done this before" that are significant. And they've never put out an album where it would just have been utterly ridiculous to compare it to Out of Time or Automatic for the People.

I actually think they're a different enough band now that I can't very well compare a recent album to Out of Time or Automatic for the People in the same way that I can't compare either of those albums to their early records.

Mills saying 'best album since Out of Time' is interesting (and, as a fan, I certainly hope it's true) because I think those two early '90s albums have great compositional solidity throughout and great cohesiveness of feeling as far as the album structure goes. This album will certainly be great if it has that.

You can get "Oh My Heart" free here, by the way:

http://www.amazon.com/Oh-My-Heart/dp/B004LKJPCY/ref=sr_shvl_album_1?ie=UTF8&qid=1297305902&sr=301-1

Does sound like something from Out of Time!

hey, it could be worse than this -- they could sounds like the decemberists covering old r.e.m. songs!

http://pitchfork.com/news/41553-watchlisten-the-decemberists-cover-rem

One listen to the new album and it's ... pretty good. In the way that Accelerate was ... pretty good. Again, it's REM doing the core REM sound, more or less. But 30 years into their career, it's no longer appropriate to compare their new work to their older work, I think. I'm strugging to think of bands 30 years into their career who've made better albums (note bands: excludes solo artists).

REM, continuing to be the acceptable edge of the unacceptable stuff.

I'm strugging to think of bands 30 years into their career who've made better albums

The Fall. The Ex. Wire.

Well, at this point I'm long past agreeing with you about the Fall: think they're pretty awful most of the time these days. Wire have had long breaks: it's not a 30-year continuous career. And I don't know enough of the Ex's stuff to have an opinion.

You can get "UBerlin" for free today on iTunes.

Whole thing streaming here: http://www.slicingupeyeballs.com/2011/03/01/stream-rem-collapse-into-now/

"Not bad" is kind of a backhanded compliment, but I'm enjoying it.

I'm kind of tired of 'not bad' REM albums.

I was flicking through Q magazine the other day and was really shocked to see the new album getting a really bad review, think it got 2/5. Q usually give them good reviews no matter what the album sounds like.

yeah this is pretty good so far (4 tracks in) better than the last few albums. lyrics suck a bit like.
it's on Spotify too by the way.

Haha Q hating this is really my first indication that this might be really good!

this feels like the first amazing album since bill left. maybe patti's stepped-up presence has filled the void of his absence a little? i don't know. so glad to like an rem album on first listen again. imho the call and response bookending of "discoverer" as "blue" closes out is the most affecting close-out since "me in honey"

"closes out" . . . "close-out" oops. these new songs have me pretty excited, have to admit

I think Stipe is a big part of the reason why. If you think about these songs, it's not so much that Buck and Mills have all of a sudden started writing significantly better music. But these songs just really came together and I agree that they've outdone themselves here. (If you want to say "recent selves" instead of just "selves," OK.)

I think I need to listen to this again. I was underwhelmed on first listen, though I did appreciate that the album felt a lot more varied than the last couple of efforts.

I think you guys must be listening to a different album to mine because all I hear is an obvious lack of effort from all concerned, especially Stipe. The bit where he sings "the storm didn't kill me, the government changed" made me wish I had a physical copy so I could throw it across the room.

Stipe's always written lyrics separately but now it feels like he just turns up in the studio and just barks them over whatever Mills and Buck have done. More than one note on the rock songs would be nice. I like 'Alligator Aviator Autopilot Antimatter' (even though it's basically 'Revolution' shined up a bit) and 'Blue' is fantastic, but everything else just smacks of "will this do?"

I liked Accelerate quite a bit, but this one is just a more boring version of that album.

I'm not sure what's specifically CD-throwable about that line, but fair dos.

The songs are growing on me in a way REM songs haven't for a while. They're all quite superficially soprofic, but they have a certain pleasing edge that, say, "Until The Done Is Done" clearly didn't. There's a little more melodic effort, and less of Stipe doing his "I Took Your Name"-style fallback robot voice.

It's a shame, though, that Mike Mills seems to have taken a backseat on backing vocals after being over quite a lot of "Accelerate." And there's nothing as instantly lovable as "I'm Gonna DJ" and "Horse to Water".

I've been listening to this on Spotify and I like it quite a bit, it's got some really strong songs and nothing so annoying that I can't listen to it.
Uberlin is the first REM song since Parakeet on Up that's gotten stuck in my head and I've had to listen to over and over again.

i'm really scared to hear this ;_;

This album is making me feel like the past 20 years never happened--I like it.

It's not really a proper REM album till you've read the David Cavanagh review.

God help me, I'm really starting to like "Discoverer," though there is no way to deny it sounds like a dropped track from "Monster" or "New Adventures."

Discoverer is my favorite of the bunch too. Someone way upthread (or was it on twitter) called it a Finest Worksong retread, which it kinda is. It's the only track that's really stuck with me so far though. HATE the last track with the Stipe monologue.

http://static.guim.co.uk/sys-images/Observer/Pix/pictures/2011/3/2/1299070673612/michael-stipe-REM-intervi-001.jpg

http://www.guardian.co.uk/music/2011/mar/06/michael-stipe-rem-collapse-interview

Seems to be getting good reviews cos it has a 'classic' REM sound, but a lot of it sounds like a marginally less boring version of boring bands who've ripped off all the boring bits of REM. Uberlin reminds me of Idlewild at their most earnest, erk! There are a couple of nice enough tunes, but I don't know if I can be bothered letting it grow on me. REM has always self-plagiarised, sometimes improving on the originals (I'll take Strange Currencies over Everybody Hurts) but Blue is such a blatant rip off of Country Feedback it's almost funny - same chord sequence, tempo, guitar drones, everything. Except it's a bit boring, with none of the ache and burn of that classic. Oh My Heart is good though: has a bit of Swan Swan H (never a favourite) and Try Not To Breathe (a big favourite) to it, but it's quite affecting nonetheless.

That photo!!!

Stipe's not 50 yet, is he? Looks about 64.

http://i.imgur.com/6Tjzu.jpg

lots of lazy reviews knocking "blue" as a "country feedback" or "e-bow the letter" knockoff, as though the spoken word thing is some warner bros era development. hint: there's another rem closer that features prominent spoken word vocals. it's called "stumble." thanks

I think the country feedback comparison comes from the chord progression - it's nearly identical. You can sing country feedback over the top and it sounds fine.

i get that. and sure, it's got patti smith on it, too. just saying that if a writer's gonna diss a song for rehashing elements from a band's catalog, familiarity with the whole catalog doesn't hurt

That's silly. Bring back Patti Smith for a second moody cameo, and people will mention "E-Bow the Letter." If they brought KRS One back for a track, people would be comparing it to "Radio Song." It's the specificity of the similarities that can't be avoided. How much importance one places on such similarities is another matter.

i don't think it's that silly. lots of people know rem's music inside and out. j. michael's lyrics and delivery are such a huge part of rem's appeal that a pertinent nod to "chronic town" when discussing their new album, thumbs up or down, would boost a review's authenticity. complaining that "blue" is just like "e-bow the letter" but without mentioning "stumble," the only other rem song that closes an album (ep, whatever) with a prominent spoken word bit, is a blown opportunity