R.E.M.; "Up" (Warner Bros.); **.
The knock on Georgia's biggest musical export, R.E.M., was that the group's previous two albums (1994's "Monster" and 1996's "Adventures in Hi-Fi") simply rocked "too hard" for their own good.So in response to the first heavy criticism the band has received in a long and successful career, R.E.M. has drastically overcompensated on its newest, "Up." And the group has never sounded as wimpy or as unfocused as it does here.
In fact, this collection of seemingly unfinished songs is an even bigger dud than the "Monster" and "Hi-Fi," calling into question whether the band's decision to carry one of its founding members, drummer Bill Berry, was wise.
Frankly, the results suggest it was not.
Recording for the first time as a trio (with contributions from guest percussionists, including Screaming Trees skins-pounder Barrett Martin), R.E.M. makes the mistake of trying to be "contemplative." But all too often the results are just plain dull.
The three-minute song snippet "Airportman" could be the bridge, or a verse to another, better song. Meanwhile, "Hope" borrows from Leonard Cohen's "Suzanne" and sounds like a low-tech demo rather than the work of a mature band.
Then there's the odd, white-boy funk of "Lotus," and the droning "Falls to Climb," neither of which really deserves to be on an album.
That's not to say that "Up" is completely worthless. There are a few beautiful moments, such as "Suspicion," which sounds like the R.E.M. of old, despite the cheesy, loungelike production (was the string section really necessary?).
But even the best songs go on far too long. Five of the 14 cuts are at least five minutes in length, which might not be so bad if the material could sustain them.
Also, the gimmick-heavy production (credited to Pat McCarthy and the band) plays up Michael Stipe's monochromatic vocals, while downplaying the contributions by guitarist Peter Buck and multi-instrumentalist Mike Mills. Can their departures from the band be far away?