R.E.M. - Monster

Written By: Moti Kupfer

Album review - R.E.M. - Monster

Release date - 26.9.1994

Record company - Warner Bros.

Genre - Alternative rock / Grunge / Glam Rock / Garage Rock

Sometime in early 1993, the band "R.E.M." was on top of the world. Their last two albums, "Out of Time" and "Automatic for the People," sold a combined 36 million copies worldwide, transforming them from a band with potential into an international giant.

When you're on top of the world and everything looks promising, what could possibly go wrong?

In the case of the promising band from Athens, Georgia, karma apparently turned their entire world upside down for themת just after they reached the top of the world, and almost caused the band to disband just before their ninth album, "Monster," was released on September 27, 1994.

The band members met in early 1993 in Acapulco to brainstorm about the band's future, a meeting after which two things were clear: after two albums in a mild and smiling atmosphere, it was time for distortion and guitar to take charge, and at the same time for the band to resume its world tour after a five-year break (1989).

With the right mindset to "give a nod" to their audience, probably also inspired by the grunge genre that was strong at the time, "R.E.M." entered early and minimalist recordings in New Orleans where the band wrote no less than 45 songs, with the sessions being minimalist and experimental.

Additionally, Michael Stipe was recorded by Mark Howard (who had worked with the band on their previous album) lying on a couch and coming up with lyrical ideas, which later helped him write many of the songs on the album "Monster".

After the minimalist session, the band moved from New Orleans to Atlanta where they recorded most of the songs on the album. The songs were recorded while the band played live in the studio. Producer Scott Litt thought that since "R.E.M." had not been in touring for five years, recording live would be a fitting preparation for the upcoming tour.

At this point, Bill Berry, and Mike Mills fell ill, Peter Buck, and Michael Stipe had to visit sick family members, and if all that wasn't enough, actor River Phoenix, and musician Kurt Cobain, Stipe's friends, had passed away ("R.E.M." dedicated the closing song "Let Me In" to Cobain, and the entire album to River's memory. Phoenix).

After the multiple breaks, the band continued recording, and moved again from Atlanta to "Criteria" Studios in Miami, but this time the recordings were interrupted due to Michael Stipe's tooth abscess.

But that was not the end, the situation reached its lowest point when the band moved to record at Litt's house in Los Angeles. Tensions between the band members reached their peak and the controversies led to a situation where each member of the band went to a different room, thinking to themselves "to hell with everything". This was also the point of no return, and the band decided to meet, talk, and solve the tensions and problems together.

Despite all the problems described, this album soared with its release to number one on the American charts and in no less than 7 other countries, not least thanks to the lead single from it "What's the Frequency, Kenneth?".

This is, as mentioned, the rockiest album by "R.E.M." since its inception. It combines glam rock and grunge, has distorted guitar tones and minimal overdubs, and Michael Stipe's vocals sound a bit muffled because they were pushed back in the mix.

If in the past "R.E.M." sought to explore and play new acoustic instruments, this time it turned out that playing an electric guitar can be just as fun.

"Bang and Blame" will surely remind you of "Losing My Religion" from "Out of Time", during the verses. It features Rain Phoenix - River Phoenix's sister, and bassist and singer Lynda Stipe - Michael Stipe's sister, both of whom provide background vocals.

This isn't the only song on the album that will give you a sense of "déjà vu." "Strange Currencies" for example, manages to convey the feelings of "Everybody Hurts" from the previous album - "Automatic for the People". As always, Michael Stipe's enigmatic writing stands out throughout the album, where you can also find guests from the alternative genre, such as Thurston Moore from "Sonic Youth" on "Crush With Eyeliner."

Above all stands the distortion of guitarist Peter Buck, echoing throughout the album, so that even grunge fans will know that "R.E.M." can be heavy, distorted and rough, even if in their essence they are not one of those bands that grew up in Seattle in the early nineties.

The album cover was made by photographer Chris Bilheimer after Stipe showed him a green balloon that he wanted to use for the album cover. Bilheimer transformed the album cover into a bear's head, photographing the bear's head in several frames, some blurred. One of these frames was eventually used for the album cover, with the color changing from green to orange.

The band's ninth studio album sold nine million copies worldwide.

For Listening: Spotify, Apple Music

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