Monster

I guess that following on from such 'great' albums as 'Out of Time' and 'Automatic for the People' was an almost impossible task, and that anything other than the greatest album of the decade would have been a dissapointment, but I feel that 'Monster' showes REM at their most courageous.

Abandoning the soft, melodic acoustics of the previous two albums, Berry, Buck, Mills and Stipe retraced their roots to produce songs more remeniscant of 'Lifes Rich Pageant' and 'Document' than 'Out of Time'. The thunderous guitars on 'What's the Frequency, Kenneth?', 'Crush with Eyeliner', 'Star 69' and 'I took your name' give the songs real energy, while the rock-solid rhythm section ensure that the songs never get out of hand. The vocals are pushed further back into the mix (so they aren't as clear as on the last two albums)but the lyrics are every bit as complex as in 'Automatic for the People', with Stipe dealing with image, authenticity and fame.

'Star 69' is simply a great tune, while the drum beat in 'Crush with Eyeliner' gives it a woozey, sexy feel that is complimented by the Stipe's singing. 'Strange Currencies' and 'Tongue' bring a period of calm to the middle of the album, with the latter being one of the most beautiful songs that REM have ever written. The weakest track is 'You', which never really goes anywhere, and arguable the album faulters after track 7; but nevertheless this is a fantastic piece of work.


New Ground...well trodden.   September 14, 2004
 3 out of 3 found this review helpful

I listened to this album for the first time with trepidation as I was a big fan of 'Out Of time' and 'Automatic for the People', But I have to admit that I love it. It's nice to sometimes hear something new from a band who are not willing just to stick to the same, popular path but to tread new ground. The opening track had me thinking initially 'What's it all about?' Now I know the story is about a friend of the Band who was beaten up in the street, by complete strangers, who seemed to think he was someone else. Leaving him bleeding on the ground , one of them asked him 'What's the frequency, Kenneth?'. I love this track but have to admit that my favourite song is 'Bang and Blame'. From the intro to the fade-out, it washes over you like a little piece of perfection. I think the album has an even quality, no weak tracks although King of Comedy is not one of my favourites. I prefer the tracks which are full of emotion and which move me. Despite the rise in noise level, there is plenty of emotion on this album. I wouldn't urge anyone to buy this as it is so different from most of REM's other stuff. It's raw and anything but safe. But if you are the sort of person who dosen't get upset when Bands you like stray from a tried and tested formular, then risk it. I did and I'm glad I did.


Let Me In   May 10, 2004
 2 out of 3 found this review helpful

In a somewhat contrived effort to alienate the fans they picked up between 1991 and 1992 (the Out of Time/Automatic for the People era), who were drawn to the melodic pop sound that the band became famous for, R.E.M. came out guns blazing with 1994's Monster: an experiment in noise and distortion; the exact opposite of Automatic.

The Athens quartet may have jumped the gun with Monster, though, as the album's violent guitar effects and dense sound feels more like a forced effort to defy expectations than a genuine creative step forward. R.E.M. were no longer innovating; they couldn't resist the temptation to do somthing completely unexpected while they were still at the peak of thier popularity.

That said there is much to enjoy here and in Monster R.E.M. have created one of their most underrated gems ever. The catchy hooks of 'What's the Frequency, Kenneth?' draws the listener into the record with intrigue and excitement, wether or not Monster lives up to that opening statement lies with the listener. Repeated listens reveal the albums most powerful songs to be 'Let Me In' with sublte layers of Peter Buck's churchy organ effects moaning underneath Mike Mills wailing guitar and Stipe's mournful vocal; 'Tongue' which features a touching piano line and has the added intrigue of being, lyrically, from the female perspective; 'I Took Your Name' which is perhaps the most aggresive song on the record. Elsewhere the songs are built around interesting effects, such as the vocal distortion on 'King of Comedy', which features some interesting female backing vocals.

While this is by no means R.E.M.'s best effort it is far from being thier worst. Monster has become a victim of the hype that surrounded its release, overlooked and long since forgotten. However, there are some very strong songs here and it is well worthy of merit. Highly recommended.


You still haven't bought it yet?!   November 2, 2003
 1 out of 1 found this review helpful

This is undoubtedly my favourite popular music album. Apart from repeating what others have said about this album being overlooked, etc., I would like to add a few other points. In my opinion, this album completely transcends all of REM's previous work. Although it does still have links to previous material (remember that these are simply the traits of the band), the majority of the work is not only more powerful and more original, it is also immensly deep at the same time, a view I have come to form through repeated listening to this outstanding record. However, here come the words of warning to those people out there who just want to listen to this album as background music - don't buy it!!! This is a serious album meant to be listened to seriously (amusing episodes aside). It has to be remembered that REM took a big step in creating a work such as this - even in the face of criticism - and that, my friends, is the mark of the true artist. Indespensible.


Reverb.... a plenty!!!   March 13, 2002
 3 out of 3 found this review helpful

A seemingly much unloved record judging by some of the reviews in the press at the time.....

In reality a stunningly original effort, that went against the sound of the time...... certainly more glam and glitzy than grunge..... this found R.E.M. at a complete counter point to the album 'Automatic For The People' that proceeded it........

The best songs, well 'Let Me In' is gobsmacking!! Mike Mills taking over the guitar from Peter Buck, in what amounts to a sonic guitar wash... against stipes volatile but gorgeous lyrics..... simply a stunning song that sounds nothing like R.E.M.........

The following song 'Circus Envy' sounds like R.E.M. doing Nirvana, and is certainly one of R.E.M.'s heaviest ever........ I love this song!!

Other's that stand out, the trashed!! 'You' (reminds me of Oddfellows Local 151 from Document) deserves more mentions than it ever gets, as does 'I Took Your Name.'........ the gloriously Glammed up, and Sonic Youth inspired (with Sonic's Thurston Moore on backing vocals) Crush With Eyeliner is superb and finds R.E.M. in down and dirty mode......

Lower points..... well, 'What's the frequency Kenneth' sounds too restrained...... except for a fantastic solo, played backwards....... and the reggae beats inspried 'Bang and Blame' not really hitting the right notes in my head......

I love it for what it is though.............