‘Accelerate’ is a ‘course correction’
By Sam Bishop
Correspondent
In interviews surrounding the release of their 14th studio album, R.E.M.’s members have presented “Accelerate” as a “turbo-charged,” immediate and urgent collection of songs. They’ve made no secret about it also being a course correction in terms of both musical direction and their ability to communicate effectively to each other about it (referencing 2004’s lackluster “Around the Sun” specifically). “Course correction” would actually make for an appropriate two-word review of “Accelerate” as it connotes improvements, while not necessarily meaning “completely back on track.”
Where R.E.M. succeeds on “Accelerate” is in reclaiming the sonic and energetic ground lost since 1996’s “New Adventures in Hi-Fi” (possibly the band’s most underrated record). “Hi-Fi” presented R.E.M. finally fulfilling their promise as an arena rock band, which they had been for a decade, give or take a year or two, but really only in a technical sense.
Tracks exemplifying this rekindled dynamism on “Accelerate” are its first two - “Living Well is the Best Revenge” and “Man-Sized Wreath” - and final pair - “Horse to Water” and “I’m Gonna DJ.” Though all come with their own uniquely arranged torrent of guitars and drums, it is singer Michael Stipe, fully assuming his role as star frontman, who seals the deal on each. There is fresh and agitated electricity to the delivery of his sharp, witty and biting lyrics. On opener “Living Well,” he tears into the news media with such vigor you can almost hear the spit collecting in the corners of his mouth - and that’s a good thing.
By no means do bassist Mike Mills and guitarist Peter Buck play second fiddle. In fact their respective contributions throughout the album stand out for being simultaneously intricate and fluid. Additionally, Mills’ vocal harmonies are perhaps the strongest and most infectious of his career.
“Accelerate” is not without its flaws, though. First single “Supernatural Superserious” plays like “R.E.M.TM” - it’s not groundbreaking or even great, but was written well enough to get stuck in one’s head. Similarly, “Hollow Man,” with its well-worn “mellow verse/big chorus” vacillations, isn’t a shining musical moment for the band. But, with Stipe playing self-critical, self-flagellating protagonist, the song is somehow moving, like a damnable B-grade film that can still turn on the waterworks.
Elsewhere, guitarist Peter Buck’s fondness for folksy, head-swaying, 6/4 numbers manifests itself in both “Houston” and “Until the Day is Done” - tired, momentum-killing numbers presented in a style better employed on past albums with songs like “New Test Leper” and “Daysleeper.”
Given these and a few other uninspiring elements, “Accelerate” won’t necessarily rank among R.E.M.’s best albums. Given all they get right, though, it just might be remembered as the record when they started making people take notice again.