Wittingly or otherwise, REM chose a fitting title for the album that would set the American college-rock scene in motion. Debut LP Murmur traded on muted folk melodies and indistinct utterances, breaking new ground yet bearing ancient hallmarks.
In 1983, when Michael Jackson's Thriller topped a chart that included Culture Club's Colour By Numbers, David Bowie's Let's Dance and Genesis' self-titled effort, Murmur's elegiac appeal was a balm to those who weren't about to let go of all that had been gained through the punk and post-punk years.
Singer Michael Stipe, yet to develop any real confidence vocally or lyric-wise, drifts through much of Murmur's misty landscape like a mournful monk, chanting lines that can only have some internal meaning.
Where he sings with gusto his words are more distinct, offering the listener the chance to snatch a phrase here and a chorus there. His voice combines with those of bass player Mike Mills and drummer Bill Berry in a style more evocative of Native American tribal music than of rock's traditional blues sources.
Guitarist Peter Buck ditches power chords and solos in favour of chiming arpeggiated runs, thickening the sonic soup rather than overpowering it, allowing Mills to take a strong hand in directing the melody.
In subsequent years, particularly following the breakthrough success of 1987 album Document and hit single The One I Love, a more assured Stipe pushed forward in the mix and adopted more conventional roles as frontman and media focal point.
