Monster has sometimes been thought a black sheep of the R.E.M. canon. Released after the worldwide smash, Automatic for the People, it finds Michael Stipe and the rest of the group reflecting on the limelight. Reviled at the time for songs that bore little in common with the previous album's piano ballads, it is truly discordant. But it is exciting too, and deserves higher repute.
Not Just Losing My Religion
Foremost among Michael Stipe's lyrical concerns on Monster is his interest in celebrity. The previous release had made him one of the most recognised frontmen in the world. As such, the sudden loss of privacy pervades Monster. Though rarely coherent, his frustration is palpable on tracks such as "I Don't Sleep, I Dream", wherein he muses 'Am I good in bed? I don't know, but I guess so.'
Of course, such lyrics find Stipe growing into his newfound celebrity too. Whereas on previous album releases he had refused to be interviewed, with Monster Stipe begins the change to an extrovert. By the time of R.E.M.'s Around the Sun nine years later, Stipe would be using his celebrity to publicise charitable causes. Monster is hence a useful document of this personal transition.
The Sound of Monster
Monster is unique in the R.E.M. canon too where its sound is concerned. Only with last year's Accelerate have Peter Buck and Mike Mills reached again the electric guitar-driven levels of aggression found here. However, where Accelerate is concerned with R.E.M. finding their lost energy, Monster attempts to destroy the commercial persona that Automatic for the People had fostered.
Although the opening track "What's the Frequency, Kenneth?" gave R.E.M. a hit, and a lasting addition to their live set, it is unrepresentative of Monster. Feedback is the order of the day on central tracks such as "I Took Your name" and "Star 69". Gone are the delicate piano melodies, replaced with grunge riffs and pounding beats courtesy of Bill Berry, on his second-to-last appearance.
Monster is flagrantly cacophonous. What has made the record a lasting asset to the R.E.M. catalogue is not its melodies. Nor is it Stipe's lyrics since, although these are intelligent and thoughtful, they are buried behind the guitars. Instead, it is the record's energy. After Bill Berry's departure, energy is something R.E.M. would find itself without, so its abundance here is still refreshing.
The R.E.M. Concert
Of course, R.E.M.'s lack of energy in the years since Bill Berry left is something that has only afflicted their albums. Their live shows have remained potent, perhaps more so given Michael Stipe's development as a frontman. Given the band's resurgence with Accelerate, now is an opportune time to catch them. With twenty-five years playing music together, they're incredibly tight.
Yet Monster recalls a period when the band could record a thrilling album, seemingly almost without effort. Though rooted in grunge, the Monster sound has barely aged. If not current, it doesn't embarrass R.E.M. in the slightest. Many people threw away their copies of Monster on discovering how it differed from Automatic. Fifteen years on, they may realise it's surprisingly vital.
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