Album Title
R.E.M.
Artist Icon Reckoning (1984)
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First Released

Calendar Icon 1984

Genre

Genre Icon Pop-Rock

Mood

Mood Icon Moody

Style

Style Icon Rock/Pop

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Record Label Release

Speed Icon Warner Bros. Records

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Album Description
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Reckoning es el segundo álbum de estudio de la banda estadounidense de rock alternativo R.E.M., lanzado en 1984 a través de I.R.S. Records. Producido por Mitch Easter y Don Dixon, se grabó en el Reflection Sound Studio en Charlotte, Carolina del Norte en 16 días entre diciembre de 1983 y enero de 1984. Dixon y Easter intentaron capturar el sonido de las interpretaciones en directo del grupo y usaron una técnica de grabación binaural en varias canciones. El cantante Michael Stipe empleó temáticas más oscuras en sus letras y las imágenes relacionadas con el agua son un tema recurrente en el disco. El álbum recibió elogios de la crítica y llegó al puesto 27 en los Estados Unidos, donde recibió un disco de oro otorgado por la RIAA en 1991 y llegó al número 91 en el Reino Unido.
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User Album Review
The second album from the Athens, Georgia band builds solidly on the muddy foundations of their debut; showing a more expansive sound from Peter Buck's guitar, that jangles, flirts with and teases Mike Mills' chirpy bass lines; all driven along by Bill Berry's muscular drumming. There's an upbeat, cheery swagger to the mix, with only a couple of tracks allowed to meander off like Sunday afternoon garage-band jams.

The major change in their sound however comes from Michael Stipe's fresh-laundered and sweet smelling vocals, that surface from the swamp-like sound of Murmur (their appropriately titled first album) to take a far more active role. When he shakes off his air of lethargic, suburban ennui, he lets an enormous passionate energy shine through, and it brightens up the whole R.E.M. experience.

Stipe is as querulous and apparently amazed by the modern world that he digs into here, but appears far more confident, if just as intriguingly obscure, as a lyricist. His elegant delivery, pitched in the lower register, demands comparison with the contemporary work of The Smiths over in Manchester, but Stipe's wry faux-innocence couldn't be anything but late-twentieth century American.

Although there's more than a hint of the Byrds' one-time fascination with harmony and a twelve-string Rickenbacker in its production, the set taken as a whole shows that R.E.M. remain ferociously indie and seemingly uninterested in mainstream success, secure in the embrace of their growing hometown audience, and happy to continue their thorough exploration of conventional rock format and song structures.


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