We’re all in favor of anything that brings his sad, beautiful songs to new ears.
#ELLIOTT SMITH EITHER OR PITCHFORK FULL#
On Smith’s birthday, the label will price its 2010 An Introduction to… compilation at $4.99, and if you sign up for the Kill Rock Stars mailing list on that day, the label reportedly promises “a present.” What’s more, Smith’s full Kill Rock Stars discography is on sale for $49 all month, and a 10% discount for Smith merchandise comes with any Kill Rock Stars mail-order purchase.įor more on the latest Smith offerings, visit the Smith section of the label’s website.
We recorded this before any studio version. The latest Smith rarity comes as Kill Rock Stars gets set to reissue Either/Or and Smith’s 1995 self-titled album this month on 180-gram vinyl. Elliotts early work has a beautiful rawness that cant really be described you just have to listen to the songs.
A few lyrics are slightly different here - “All you’re good at now is breaking your own heart” - but the harmony- and organ-drenched arrangement is just as fragile, immaculate, and, yup, heartbreaking as ever. 48 a couple of years ago on SPIN’s 125 Best Albums of the Past 25 Years.
SQUAREPUSHER SUPERCHUMBO TIPSY TELEf ON Ta AVIV PROJECT PITCHFORK ORRIN. First up is an alternate take of “Alameda,” which appears in its finished form on 1997’s stark, masterful Either/Or, which ranked at No. NJ 90.3 FM Elliott Crawford Jim Vergeldt Funkbon Chauncy Shelby LaMothe Eric. In the late Portland singer and songwriter’s honor, indie label Kill Rock Stars is unveiling a set of previously unreleased tracks, Pitchfork points out. The point is that there are lots of people who haven't yet had the occasion to discover Elliott Smith, and ultimately this gives them a chance to scratch away at the bittersweet reality of his work, at how conflicted he sounded, at how bitterly unresolved his career remains, and how every single song still somehow feels like both a confection and a dagger.Elliott Smith would turn 43 on August 6 if not for his horribly sad death almost nine years ago. There werent many singer/songwriter/producers around who could make. will also invite the more familiar listener to play a game of soft scrutiny and reflection on what may or may not be a few sins of omission, but of course that's not really the point. Elliott Smiths tragic death in 2003 left a gaping wound in the indie rock community. As you might expect, given the title and the label, it is distinctly light on material from Smith's Dreamworks years, during which he was arguably at the peak of his powers, but it makes up for that thinness by offering up a judicious selection from Smith's indie breakthrough, 1998's Either/Or, as well as a few slightly rarer versions of fan favorites, like the single version of "Happiness" and a newly remastered version of 1997's "Last Call".Īs is the way with these sorts of things, An Introduction To. is as tasteful and as thorough as one could reasonably demand. Ranging from Smith's relatively spotty 1994 solo debut Roman Candle (from which only one selection appears) through to " |||||| Miss Misery", the pivot point of his career, knowingly offered here in an early, pre-Oscar nominated incarnation, through to a few selections from New Moon, 2007's posthumous collection of vaulted odds and ends, it's more a testimony to the ferociously high quality of work that comprised Smith's catalogue than any triumph of curation.Īs the song selection goes, though, An Introduction To.
#ELLIOTT SMITH EITHER OR PITCHFORK DOWNLOAD#
is Kill Rock Stars' pitch at a Smith career primer, and although one could get caught up in questioning the need for any such anthology in the download era, it is pretty fantastically difficult to fault as a collection of songs, and KRS' intentions and target audience are clear. His lyrics, meanwhile, alternated with conflicted ripples of wisdom, longing, and adolescent angst, the sweetness of the music often belying the sentiment underneath.Īn Introduction To. Smith's hallmark, then, was his virtuosity: not just as a guitarist, though he frequently made one sound like two and two sound like four, or as a songwriter, though he rigorously engineered dazzlingly complicated chord sequences and melodies, but also in his singing, which had the singular quality of sounding hushed, hangdog, affable, and sweetly melodic all at once. And the disc’s most perfectly executed trackwhich. With the studio-produced exceptions of 1998's sublime XO and 2000's Figure 8, both funded on Dreamworks' dime, Smith's legacy was largely achieved via a house style that's about as common and as ordinary as it gets: a guy and an acoustic guitar. X/O is widely seen as the record on which Smith first realized his vision of a full-blown, out-of-the-basement pop album. His real-life meekness, softness, and raw emotion never demanded or required anything as tragically operatic as cavernous reverb, barbed wire guitars, or ominous meditations on his own legacy as a musician.
Where those other musicians pushed the dynamics of their chosen genres, Smith achieved his by inverse means.
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