Just when you thought that R.E.M.’s three-legged dog don’t hunt no more, in "Accelerate" they turn in their most powerful and cohesive work since 1992’s "Automatic for the People", a record brimming with all the things that made them great in the first place: clangy autumnal melodies, droney proto-emo vocals, trippy nuance, the haunted poetics of regret, the routine eschewing of the obvious and the familiar in pursuit of the sublime and the unexpected.

This one goes out to the long-suffering superfans, the kind of people whose faces light up when you say that the piano on “Until the Day Is Done” reminds you of the glorious sun-kissed bridge from “The Flowers of Guatemala,” or that the stunning “Sing for the Submarine” has the same Ken Burnsian antebellum feel of “Swan Swan H,” or that the whole things rocks harder than their cover of Aerosmith’s “Toys in the Attic.” Call it their post-post-rock period, but Accelerate lives up to its adrenalized title with a handful of ripping, gutbucket rock-outs (”Living Well Is the Best Revenge” and “Mansized Wreath”) to balance the epic torch-folk balladeering (”Hollow Man,” “Houston”). And unlike, say, 1994’s Monster, Accelerate is not just loud, but hard, as if these songs were actually lived-in and jammed-on, and possibly even sweated over