Wednesday, September 17, 2008
It is slim pickins' when you get to album titles that start with "X".
So I thought, well, why the hell not? Sure most people who come to this blog (which is what, 4 people?) have this album or heard it sometime when it was released and disregard it, maybe they love it. Who knows. It is sort of a staple of indie fans in the 90s and early 00's and a definite introduction to everyone who watched the Royal Tenenbaums as a teenager and loved the music.
It's probably my favorite Elliott Smith album and though it is sort of cool to hate on his music now, I won't. He was a great songwriter and I still love most of his songs, even if I don't listen to him nearly as much as 6 or so years ago. So, download it if you have somehow not heard it before or maybe go back through your cds or itunes and relisten to it if it has been awhile. It's a pop record that holds up.
A year before his major-label debut, XO, was released, it seemed unlikely that Elliott Smith would even be on a major, let alone having his record be one of the more anticipated releases of 1998. He had certainly earned a great deal of critical respect with his low-key, acoustic indie records and was emerging as a respected songwriter, but he hadn't made much of an impression outside of journalists, record collectors, and indie rockers. An Oscar nomination can change things, however. "Miss Misery," one of Smith's elegantly elegiac songs for Gus Van Sant's Good Will Hunting, unexpectedly earned an Academy Award nomination, and he was immediately thrust into the spotlight. He was reluctant to embrace instant celebrity, yet he didn't refuse a contract with DreamWorks, and he didn't shy away from turning XO into a glorious fruition of his talents. Smith's songs remain intensely introspective, yet the lush, Beatlesque production provides a terrifically charming counterpoint. His sweetly dark melodies are vividly brought to life with the detailed arrangements, and they sell Smith's tormented songs -- it's easy to get caught up in the tunes and the sound of the record, then realize later what the songs are actually about. That's a sign of a good craftsman, and XO proves that not only can Elliott Smith craft a song, but he knows how to make an alluring pop record as well.