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Rating: LA RECENSIONE
The most debated album, along with "Around The Sun," in R.E.M.'s career is undoubtedly this "Monster," a studio work dated 1994; it was nevertheless a great public success (over 10 million copies sold), but the shift by Stipe and company did not convince (and still does not convince) many.
Struck by the then prevailing grunge movement, the Athens combo decided to shift towards more electric and rather raw sounds; the change was seen by some as a healthy turn and refreshing of the group's sound, while others considered it an excessive nod (and consequent wallet thickening...) to the then "fashion" set by Nirvana and similar acts.
The strong start is certainly assured, as the first two tracks ("What's The Frequency, Kenneth?", which with its scratching guitars is a classic of the group, and the redundant but pleasant "Crush With Eyeliner") are of absolute caliber. The first style misstep comes with "King Of Comedy", a nod to the '80s that is decidedly gaudy; strange for someone stylish like Stipe. The following "I Don't Sleep, I Dream" focuses on a great falsetto part by Michael, but it doesn't hit; perhaps too forcibly "slick," it ends up being tiresome. "Star 69" stirs things up with its catchy rock ‘n roll and things improve, at least concerning the underlying monotony that is building track after track. "Strange Currencies" is the only piece that recalls the R.E.M. of previous works, a good slow song that doesn't spoil, but it's certainly not on par with their previous "numbers." "Tongue" is yet another overly suggestive song by Stipe, and it quickly becomes boring; "Let Me In", with its electric-apocalyptic atmosphere, is however the masterpiece of the album, no wonder it's among the absolute favorites of the American group's fans.
The other pieces, although moderately pleasant, continue along the lines of the pseudo-grunge atmospheres described above, but they just don't make an impact (perhaps only the frantic "Bang And Blame" stands out a bit from anonymity).
An album that the same members of the group currently consider little (often the only testament of this album in concert setlists is "What's The Frequency, Kenneth?"), but at least it served as a bridge towards the great albums that followed.
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Summary by Bot
R.E.M.'s 1994 album Monster marked a controversial turn towards a rawer, grunge-inspired sound that polarized fans and critics. While achieving significant commercial success, many viewed the shift as a nod to prevailing trends rather than the band's classic style. Standout tracks like "What's The Frequency, Kenneth?" and "Let Me In" contrast with some songs considered tiresome or excessive. Despite mixed feelings, Monster served as a transitional album paving the way for the band’s later acclaimed works.Tracklist Videos
R.E.M.
Formed in Athens, Georgia in 1980. Core lineup included Michael Stipe, Peter Buck and Mike Mills; Bill Berry was the original drummer until 1997. Pioneers of alternative/college rock with a career spanning to their 2011 split.98 Reviews
Other reviews
By NickGhostDrake
"When you play a song again every time I think it’s love. When you play it for the first time, it’s first love."
"Monster was the first one I adored because it was so right for me, all those guitars that drove me crazy and that song, 'Bang and Blame,' that made me jump."
By Bleak
Gone is the baroque and dreamy intimacy of 'Automatic For The People': the imaginative and eclectic arrangements of that album have been completely abandoned, leaving behind a solid rock skeleton.
A full-fledged makeover, and a very successful one at that.
By Lesto BANG
An album that is not easy to listen to anymore, 12 years later, and reminiscent of certain ventures into the world of the most paranoid and monochord Neil Young.
Expressing oneself about sex is not a valid excuse to publish an album as fairly boring and monolithic as this.
By StoneAgeWoof
An angry album, yet at the same time playful and flirtatious, bright and gloomy.
"I am not your television. I am not your magazine. I am not a commodity," sarcastically demonstrating his integrity.
By Rax
"'I Don’t Sleep, I Dream' is a masterpiece of sobriety, a small work of art."
"'Let Me In,' dedicated to Kurt Cobain, moves me even today with its vocalization and emotional depth."
