Artist: R.E.M

Title: Collapse into Now

Label: Warner Bros

"It's just like me to overstay my welcome," sings Michael Stipe on "All the Best," a full throttling track off R.E.M.'s fifteenth studio album, Collapse Into Now.

Many loyal, albeit unsettled, listeners may dwell on that line, believing the arena-filling alternative band—which faltered a bit on some recent efforts—should have ended when founding drummer Bill Berry left in 1997. But here's the truth: the remaining trio has never sounded better since that departure than on this impassioned if not groundbreaking set.

Indeed, longtime fans won't be able to resist finding comparisons—good ones—to previous R.E.M. records at every turn. "Discoverer" tears opens the package with a primal, clanging Peter Buck guitar riff and big rock beat much like "Finest Worksong" kick-started Document (1987).

"Überlin" is clearly similar to "Drive" off Automatic for the People (1992) but also more appealing in rhythm, melody, and emotional pull aided by bassist Mike Mills' defining vocal support. "Mine Smell Like Honey" speeds through with the garage band enthusiasm and lead singer affects that shaped Life's Rich Pageant (1986). "It Happened Today" has the shiny sing-along disposition—happy harmonies, folksy acoustic guitars—from Out of Time (1991).

For all that likening, "Oh My Heart" is a song to be loved on its own merits, a stunning minor key ballad, warmed with brass and mandolin, about the resilience of people in New Orleans after Hurricane Katrina. Also refreshing are "Every Day Is Yours to Win" and "Walk It Back," simple, quiet, intelligible tunes that sing of hope and starting over.

But of course, it wouldn't be an R.E.M. album without some creative experimentation and hit-or-miss free association lyricism—all saved for the end of Collapse Into Now. "Alligator Aviator Autopilot Antimatter" makes sense as an art-punk jam with a guest spot from controversial musician Peaches. "Me, Marlon Brando, Marlon Brando and I" is mellow and pretty but also pretty hard to follow. "Blue"—mixing Stipe's kindhearted stream-of-consciousness with Patti Smith's haunting vocals—sounds over indulgent. Maybe he does overstay his welcome sometimes.

Nevertheless, this so-called collapse builds out encouragingly in all directions, doing much to erase memories of any perceived wilderness years. The project's nods to the past inspire a dive into R.E.M.'s back catalog; its present charms remind us where bands like The Decemberists got some of its tricks; and now we can be excited about the future as well. Welcome back!

*This review first published 3/11/2011