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Much has been made of the fact that Elliott Smith's music sounds like The Beatles, and to be frank, this is an argument that I do not really agree with. This school of thought evolved largely from the fact that Smith covered the fab four's Because for the closing credits of American Beauty; therefore, if there is truth in the whole Beatles similarity theory, then it is more John Lennon than Paul McCartney, which can only be a good thing. Don't expect any "Twee Silver Hammers" or "Fools on the Hill" here, songs that the ever sarcastic Lennon acerbically labelled "granny music." And Elliott Smith's records are far from "granny music," for with Figure 8, the singer/guitarist has produced another album of subdued beauty, a record that slowly sneaks up on you rather than a sucker punch that leaves you cold after subsequent listens. Those in the know tell me that the best way to appreciate wine is to decork a bottle and let it breathe for a while before pouring - though I would rather empty the glass and throw in some coke instead--a fitting analogy for Smith's latest record; this is an album that relaxes and unfolds over repeated listens. Chord progressions that previously meandered where they were not supposed to now make more sense and where once you longed for a little bit of fuzzy distortion you appreciate the fragility of laidback strumming. It is all about mood, and for the most part Smith's songs are acoustic and folkish, though there are a few jaunty piano numbers to fend off any accusations of samaritans-pop. With vocals that are smooth and boyish and guitars so quiet that even James Taylor would sneer, Smith's music has a tangible warmth to it, thanks partly to his honest lyrics, focusing mostly on the bittersweet ways of life, love and, oh hello again, the emptiness of celebrity. Figure 8 opens with the rather fantastic Son of Sam, presumably about the infamous murderer: I'm not uncomfortable feeling weirdThough Figure 8 starts with Smith's delving into the relatively sparse serial killer canon, one should be glad to know that the rest of the album does not follow in this vein. Like the paintings of Edward Hopper, Smith's music consists of portraits of individuals, either from afar or up close and personal--lovers in a lost and found, celebrities milling about at the Oscars, policemen directing traffic--they're all here. Yet, thankfully it's not a case of hello darkness my old friend; this is not just a list of beautiful losers screwing up their lives, but perhaps the most intimate and personal record Smith has made so far, particularly noticeable on the simple "Everything Reminds Me of Her": I never really had a problem with leavingSmith's career springboard came with his previous record XO being released on the Dreamworks label-- a result of contributing to the soundtrack of Good Will Hunting--and though he has been allowed a bigger budget to play with, his music sounds the same as it always did, though with better production and less swearing. Like his first few albums, Figure 8 is structured around acoustic guitar riffs, yet is complemented by lush orchestration; strings, honky-tonk piano, horns and only the occasional feedback add to his previously stark sound but do not detract from the beauty of the music on offer here. This newfound success is the sort that snooty indie artists would bark at and no doubt call 'selling out' and it is a role that Smith is not that comfortable with. "On Wouldn't Mama Be Proud," Smith recalls his appearance at the Oscars; a scruffy, shy guitarist playing the nominated "Miss Misery" alongside the Celines and Whitneys and Mariahs warbling through the octaves so loudly that even local cats were sticking their paws in their ears and complaining about the noise. If there was any justice in the world, Smith would have won a statuette for that song, but then it seemed that volume outdid talent in that category. In any case, it does not seem that he is particularly phased--for the first time Elliott Smith seems to be content. As he sings on "Happiness": What I used to be will pass away and then you'll seeIt is perhaps a dangerous pursuit for singer/songwriters to run out of misery, for it is such a potent source of material, but it is hard to resist the charm of Smith's new record. For sure, it is a late night soundtrack rather than a get up and go one, but that suits me fine--my get up and go got up and went a long time ago, so it is good to know someone else feels the same way. Ross Thompson 4/29/2000
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