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About Up
Product Description Released in 1998, Up is the eleventh studio album from R.E.M., and the band's first album to be recorded after the departure of longtime drummer Bill Berry. Up takes inspiration from electronic music, using a wide range of tools to create a dreamy pop landscape that is reflective and moody. Up was certified gold in the US and multiple European territories, while it want platinum in the UK. Features single "Daysleeper." Amazon.com After R.E.M.'s somewhat ambitious 1996 album, New Adventures in Hi-Fi, failed to ignite Billboard's Hot 100, you might have figured the band would return to the rock-solid bombast of Monster or the consumer-friendly pop of Green. But R.E.M. have enough cash not to worry about commercial failure, and they've already been to the top of the mountain, so for now they'd rather explore its lush valleys and secret caves. Up is an atmospheric journey as impressionistic as Enya and as evocative as John Barry. Some critics have compared it with the band's delicate and emotionally revealing gem Automatic for the People, but Up is more ambitious and creative. Sure, most of the songs are pastoral, but they're undercut with drama and sonic experimentation. The melodies are generally spare, the beats sparse. Guitars flicker in and out, providing tension and dynamics, while quivering strings, layered keyboards, and washes of feedback color the songs like textured lines of paint in an oil portrait. The only blatant pop song is the single "Daysleeper." The rest of the album ebbs and flows, each song a separate component of a complete artistic expression. The sound may be influenced by guitarist Peter Buck's cinematic jazz side project or by Michael Stipe's celluloid excursions, but its source doesn't matter. What's important is that more than a decade after their sell-by date, R.E.M. continue to challenge and inspire. Things are definitely looking up. --Jon Wiederhorn Review Even with the words written in black and white, the meaning of these compelling but impressionistic tunes remains elusive. The opening cut, Airport Man, is laced, as most of the tracks are, with odd sonic effects.... -- People For all the promised adventuring, it's a strangely cautious record, Peter Buck oddly restrained, any sudden guitar flash sounding like he's surreptitiously crept up behind songs and wrestled them to the ground. It feels like an REM compendium, a virtual reality "Best Of" picking and mixing their past.... They play it bad, they play it sad, they play it again and again--hell, sometimes they even play just like a bunch of guys in a room. But after [all these] years, REM can still play with divine fire. -- New Musical Express Peter Buck's once-assertive guitars mostly have gone all liquidy or simply disappeared; a layered array of pianos, organs, string adornments and mechanically ticking synthesizers and beat boxes supersedes the old guitar-band approach to evoke twilight moods that are by turns unsettling and caressing. -- Los Angeles Times The songs are built around humming, gently throbbing electronic keyboards.... Peter Buck's guitars don't ripple; instead, they dart in and out of the songs like sound effects. Once [Bill] Berry left, we knew R.E.M. would never be the same.... Up is the sound of the band trying to reshape its sound and vision. -- Entertainment Weekly
