R.E.M.
Fables Of The Reconstruction

THE REVIEW

1985, Athens, Georgia
"Fables Of The Reconstruction" is born, the album recorded without the knowledge of I.R.S. that brought REM to the brink of breaking up. The nervous exhaustion hovering around the four makes this the most complex work of the Georgians: you understand it immediately from the dark cover and, subsequently, from the dark contents! In this concept album, Michael Stipe tells "fables," creates characters and stories, but also bases them on real events.

The first track "Feeling Gravitys Pull" is cold, melodic enough, and the ending is claustrophobic: the strings perform a horror movie-like arrangement. "Maps And Legend" is a bit more sunny (if you can say so): Buck continues to arpeggiate his guitar and Mills continues to clash his high-pitched voice with the low and hidden voice of his companion. "Driver 8" is probably the best moment: a rising rhythm and a memorable riff; it's about the "Driver 8," an operator of a railway line that crosses Georgia. "Life And How To Live It" is based on the story of an Athens resident who divided his house in half, furnishing one half in one way and the other half in a completely different manner! All on an accelerated rhythm, with a guitar used with class and impeccable counter-vocals. In "Old Man Kensey", darkness reigns... it talks about a dog kidnapper; in "Can't Get There From Here" you almost hear something of James Brown and funk in general: anyway, it's a fun and peculiar moment. "Green Grow The Rushes" is a classic, pleasant REM-style folk rock and was the first song that leaned towards a subject dear to them: politics. In "Kohutek", the sound becomes more confident and decisive but still retains that melancholic, dark air; Stipe's falsetto is fabulous and brings us back to the early REM. On the other hand, "Auctioneer" is an angry, almost punk rock; the drums pound repetitively, the voice is dark, and the guitar is decisive. "Good Advices" is reminiscent of the times of "Murmur" and leads us to the final gem: "Wendell Gee"; the story of a car dealer from Athens. It's a poignant song, with fantastic counter-vocals in the chorus and the finale; the banjo fits perfectly even though back then it was a cause of disputes during the recordings.

In conclusion, this is an album difficult to appreciate on the first listen but in its genre is a small masterpiece; it's a decisive step in the career of the Georgians: with this LP, the cycle of the so-called "power pop" that began with "Chronic Town" comes to an end and the band will lean towards politics, towards more "assimilable" rock, and towards more comprehensive lyrics. The story continues...