musicbriefs
Artist

R.E.M.

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4
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10:50
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43 min
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12:28

Out of Time

R.E.M. · 1991

Out of Time is R.E.M.’s seventh studio album, recorded mid-1990 after a year-long break, released in March 1991. It marked their commercial breakthrough and stylistic pivot—away from Green’s guitar-driven rock, toward country, folk, pop, and classical textures, built on mandolin, organ, and acoustic guitar from the start.

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10:28

Automatic for the People

R.E.M. · 1992

Automatic for the People is a record built on absence: no drums driving, no Stipe present for demos, no fast songs, no tour, no resolution. It is defined by what it leaves out—and what remains is precise, sombre, and unrelenting.

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9:59

Document

R.E.M. · 1987

Document is R.E.M.'s fifth studio album, released on August 31, 1987, by I.R.S. Records. It marks their first collaboration with producer Scott Litt, featuring clearer production, muscular rock riffs, and expanded instrumentation — including dulcimer on 'King of Birds' and saxophone on 'Fireplace', played by Steve Berlin due to his prior relationship with Litt. The band began swapping instruments in the studio to generate new sounds. 'Strange' is a cover of Wire’s song from Pink Flag. The album contains overtly political lyrics responding to the Reagan-era conservative political environment, especially on 'Welcome to the Occupation' and 'Exhuming McCarthy'. All songs were written by Bill Berry, Peter Buck, Mike Mills and Michael Stipe, except 'Strange' by Bruce Gilbert, Graham Lewis, Colin Newman, Robert Grey.

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10:24

Murmur

R.E.M. · 1983

Murmur is R.E.M.'s 1983 debut, recorded at Reflection Sound Studios in Charlotte, North Carolina, with producers Mitch Easter and Don Dixon after rejecting Stephen Hague’s technically precise approach. The band adopted a 'process of negation', omitting guitar solos and synthesizers to avoid datedness. Bill Berry insisted on recording drums in an antiquated isolation booth. Peter Buck used Easter’s Ampeg Gemini II amplifier on all tracks except 'Pilgrimage'. Mike Mills played a borrowed Rickenbacker 4001. The production prioritised live feel over polish — vocals were re-recorded only when 'very substandard'. Rolling Stone named it record of the year, though sales remained modest.