R.E.M.
Accelerate
Warner Bros

R.E.M. are recovered and resolved. It’s right there on the cover art as you flip open Accelerate and pull out the disc, beneath which is emblazoned "BUCK, MILLS, STIPE". The loss of original founding member (and key songwriter responsible for that minor hit 'Everybody Hurts', for example) Bill Berry, sent the band into a creative tailspin. Accelerate is the sound of the band finally getting its groove back.

At the behest of long time friendly rival, U2 guitarist Edge, R.E.M. recorded Accelerate in just nine weeks with producer Jacknife Lee. Lee worked on the last U2 record, but also with the Editors, Bloc Party and Snow Patrol – a raft of new bands standing in the long shadows cast by both R.E.M. and U2.

There’s a strong sense of R.E.M. taking that mantle back on Accelerate. But there’s no denying a deliberate looking back to their work before Automatic For The People for inspiration. Though where U2’s "classic coke" riff on 'Beautiful Day' was an obvious contrivance - hoping to recapture the late 80s sound for which the band was famed - R.E.M. avoid a straight retread and instead come off sounding vital and excitable. Not to mention excited by their music, which is brimming with it's precise lack of labour. Indeed a lot of Accelerate sounds fresh, like recently worked up demos the band couldn’t wait to share with the world. All bright, snappy snares and crystal cymbal washes, distorted, jangled lead lines, mandolins and the hint of strings; a remixing of all the elements for which the band are so well loved.  

Bill Rieflin (ex of NIN, KMFDM and Ministry and hot with chops) is filling the chair on Accelerate and makes his presence known from the thrilling opening bars of 'Living Well Is The Best Revenge', a track infused with the kind of ferocity that most immediately recalls a more amped version of 'These Days' from Life’s Rich Pageant. It’s an immediacy and statement of intent, which, racing with lifeblood, marks the creative rebirth of R.E.M. Reconciled as they are to writing as a trio.

Though often still willfully obtuse, lyrically Michael Stipe addresses the currently dire state of American domestic and foreign policy in the way that makes him one of rock’s most fearless voices. Far from issuing flowery pleas for love and understanding, Stipe is pissed, firing off in the sunny, almost psychedelic ‘Mr Richards’: "So listen, your intention/ sign the paper, stamp the ribbon/ You’re mistaken if you think we’ll just forget", underscored by a deft chorus shift into double time from the rhythm section.

Elsewhere, the acoustic guitar driven 'Houston' with its layered, droning organ chords and mandolin chorus is vintage R.E.M. circa Out of Time/Automatic For the People. The title track is fueled by an urgent four on the floor beat, before a crushing crescendo of flailing feedback drops us into a void at its noisy conclusion. Then there is the lovely gentle lulling of ‘Until the Day is Done’, another masterful acoustic track, with its Bush directed missive: "So hold tight your babies and your guns/Forgive us our trespasses, father and son."

Signing off with 'I’m Gonna DJ’, a glammy two minute track which would have found a home on Monster, seems a throwaway afterthought. But goofy and fun its inclusion suggests R.E.M. are still rather fond of the part of themselves which produced flashy gems like 'It’s The End of The World As We Know It': "Death is pretty final/ I’m collecting vinyl/ I’m gonna DJ at the end of the world!"

It’s over almost before it’s begun. At just over 34 minutes it’s beaten as the band’s shortest ever only by Reckoning. Sometimes the best way to reassert your dominance is to do it quickly, without sacrificing depth. R.E.M. have come back. They have seen, they conquered. U2 will be crapping themselves.