R.E.M. - Around The Sun

R.E.M. was one of the most important bands of the 1980s and one of the most popular of the 1990s. So what mark did they leave on the past decade, if any? Stipe & Co. have released 3 albums since 2000, starting with Reveal in 2001, following it in 2004 with Around The Sun and releasing Accelerate in 2008. Many say that the band slid steadily downhill following the departure of drummer Bill Berry. This mudslide to mediocrity reputedly started with 1998’s Up and ended with the soupy puddle known as Around The Sun. R.E.M. found their rock again for last year’s Accelerate, but the consensus is that the band still hasn’t regained what they had with fillintheblankwithyourfavorite80sor90sR.E.M.albumhere. Being a casual admirer of R.E.M.’s radio tunes and not much more, I was curious about how I would find Around The Sun. Horrifying disappointment? Boring throwaway? Misunderstood masterpiece?

The most interesting tidbit I found pertaining to this album was a quote from R.E.M. guitarist Peter Buck: “ [Around The Sun] just wasn't really listenable, because it sounds like what it is, a bunch of people that are so bored with the material that they can't stand it anymore.” I found this quote to be only partially true – I would agree with the fact that you can detect some boredom in these songs, from the arrangements to the lyrics to Stipe’s voice. I strongly disagree that the album is unlistenable; in fact, if I had one word to wrap up my opinion of the album as a whole, I might use “listenable.” R.E.M. give us no surprises with this record, that’s for sure. But that’s not to say that this isn’t a pleasant album to have around. It’s good background music. I imagine all hardcore R.E.M. fans are now projectile vomiting on their computer screens. But all superfans expect more out of their favorite band then they have any right to.

Things start off with “Leaving New York,” a song very representative of the album: moderately paced, no one element standing out. The song is mildly depressing, about losing someone you love and being alone. This feeling of isolation is a theme that will reappear several times throughout the album. For me, things were at their worst with track three, “The Outsiders.” The song is about an unidentified upsetting event that the narrator learns of, and wondering about the aftereffects of said event. Rapper Q-Tip is here with a guest spot, sounding lamer and more uninspired than ever. I have talked here before about the role of the guest musician usually being to drum up publicity for the album, adding their name more than a musical mark. Here I am sure that Q-Tip participated because both parties were interested in collaborating, but the result just doesn’t work. Even if Q-Tip could’ve come up with something interesting to say, it would’ve been wasted on such a bland cheesy sounding track. I think this is a good time to bring up the keyboards peppering this album. Why is R.E.M. using a keyboard to fake string arrangements? Spring for a real string section if that’s what you’re going for. What’s with the intermittent blip-bloops? And if you want to use a piano sound for a song, find a piano!

The album has an interesting arc to it; tracks 4-7 are all at least decent and sometimes really great. “Make it All Okay” has a catchy lyric structure and sounds like a cross between folk rock and a power ballad. “The Final Straw” is the most overtly political song on the album, pretty much directed solely at then-president Bush and his oppressive regime. The song works, but the next song, “I Wanted To Be Wrong,” is a much more effective and interesting protest song in my opinion. The lyrics describe the phony flag waving SUV driving post-9/11 patriotism surge very accurately without being so blatant as to beat you over the head. Lyrics like “Salute Apollo 13 from the rattle jewelry seats” made me smile. Things continue to be enjoyable with the jaunty pop of “Wanderlust” and then get a little dreary with “Boy In The Well.” It’s too long and not too much happens, but it’s very easy listening with a chorus likely to get caught in your head. I really enjoy the lyrics to “Aftermath,” a song about just that, the aftermath of the loss of a loved one: confusion and pain making way for the rediscovery of self. From there on, things get pretty same-y sounding; the next three tracks tend to blend together, especially if you’re not paying close attention. The album closes with its title track, a decent but unmemorable tune.

One of my favorite rock critics, Jim DeRogatis, wrote a small article last year in response to his 2004 review of Around The Sun. The initial review was a positive one; he claimed the album was “better than anything R.E.M. has recorded in a decade. “ In his 2008 article, DeRogatis explains that while he stands by his assertions, even going so far as to say that Around The Sun was better than anything the band had released since 1992’s Automatic For The People, he now finds Around The Sun a “dreadfully dull” album and says that he would probably be okay never hearing it again. This is an issue that the majority of the most prolific and important bands face: living up to your back catalog. Sometimes a group or artist simply runs out of things to say or new musical statements to make; this is not to say that a band isn’t still producing good music, but if you’ve made 4 or 5 masterpieces, does good cut it? I guess there isn’t a clear-cut answer. For me, this album was a pleasure to listen to and although like Mr. DeRogatis I may not have the urge to take this album off the shelf and listen to it front to back, there are definitely songs I will return to. Check out “Leaving New York,” “I Wanted To Be Wrong,” and “Aftermath” for starters, and give the whole album a listen if you get the chance.

Next on my list: Sonic Youth’s 2000 NYC Ghosts and Flowers, followed by Dog Eat Dog by Joni Mitchell.