Figure 8

j'aime pas du tout ce style de musique. 8 = figure de patinoire artistique

I've tried so many times with Elliott Smith and I've never gotten anything out of his music. It just floats by 2.5/5

TL;DR: A superior collection of songs, wonderfully played by one of the great indie singer-songwriters. Comprehensively undercuts Smith's reputation for depressing music. BEFORE: Couldn't bring myself to listen to this on the weekend in case it ruined my mood but Monday morning feels about right. I've seen Good Will Hunting but don't know much of his music otherwise. AFTER: Absolutely blew me away and way less depressing than expected. Yes the music can be sad, but much of it is also tender, uplifting, sardonic, even fun at times. The compositions and guitar work are incredible - always surprising and interesting, but without being showy or losing sight of the song. I was also expecting a set of acoustic songs, so the wide variety of instrumentation was a pleasant surprise. HIGHLIGHTS: You can find something captivating in every one of these songs, so this is just what grabbed me on my first listen. Son of Sam and L.A. combine twisty chord progressions with energetic, playful instrumentals. Somebody That I Used To Know, Easy Way Out and I Better Be Quiet Now are sweet but deceptively complex acoustic songs. Stupidity Tries, Color Bars and Can't Make A Sound are expansive and uplifting chamber pop, with the guitar on the latter being a particular highlight. Pretty Mary K pairs Smiths' gentle arpeggios with dramatic organ. LOWLIGHTS: N/A. OTHER: The vocals might be an acquired taste for some - high, breathy and occasionally nasal. Shouldn't matter when the songs are this strong, but I struggle with other vocalists (come on down, Isaac Brock) so maybe worth mentioning. VERDICT: 5 stars. This makes me want to listen to more Elliott Smith. Wonderful songwriter, underrated guitarist. RIP.

PEAK ever-so-slightly depressing music.

Well damn

When Figure 8 arrived I was initially disappointed by what felt like a step up in scope and production. I wanted Smith to remain a bedroom recording savant but with the white suit Oscars and increasing popularity that would no longer be possible. Over a quarter century later a re-appraisal is due. The intricate musicality that's evident is still as intimate as it ever was, as is his gift for lyrics that forge a connection with the listener seemingly without effort. His work remains immediate and poignant within the songs themselves. (Try as I might, still some external context will seep in, which lends an aching sadness to nearly every song.) I wish we had more years with him even as a Figure 8 taking a rest lasts infinity.

I have always liked Elliott Smith. This album didn't contain the song that hooked me in the first place and it is a bit too slow to throw on anytime, but I would definitely listen again when in the proper mindset.

As much as I miss the more lo-fi sound of Either/Or here, I think taking his sound and cleaning it up and making it bigger was a really cool choice for him here. I like a lot of the heavier songs that he's trying here, it feels like it's a big contrast to what he was doing on Either/Or. Unfortunately my ex was a big Elliott Smith fan so her presence is always gonna be hiding under the songs that she liked, but I still really liked this a lot. He's an extraordinarily talented songwriter, I think he might be my favorite thing that I've found through this generator. Favorites: Junk Bond Trader, L.A., Can't Make A Sound

Spricht mich irgendwie nicht an, es ist definitiv eine interessante Hörerfahrung, aber teilweise klingt es entweder sehr repetitiv oder etwas willkürlich. Als Hintergrundmusik finde ich es gut, aber ich würde es nicht einfach so hören.

Moyen de chez moyennasse.

Quintessential late 90s/early 00s singer-songwriter. Repeatable, but good. Can't say anything that's wholly original, but he was a good songwriter.

Normal

Need to listen

Depression maxxing hell yeah. Ble ikke heeeelt ferdig, men e litt usikker på om d e min vibe ass. synes det va en smule kjedelig, men anntar at æ hadd likt det bedre om æ hørt d på nytt

Elliott Smith is one of my favorite artists of all time; he possessed a unique approach to not only lyrical poetry but to playing guitar as well, like a descendant of Cohen. But even still I have always preferred his lo-fi works to the works that he dreamed up for himself, things like XO and this album. Are they still fantastic? Absolutely. But I feel like there's a certain quality and emotional depth that is lost with precision and heavy-handed production. Even on this album the stark, sparse numbers are the winners ("Somebody That I Used To Know").

I was so excited for this but honestly I got a bit tired of smiths sound. It’s better the second time around and I really like LA. Very obviously Beatles inspired but he doesn’t quite get their harmony

5/10 Over the years I have, at various times, tried to get in to Elliott Smith. I know plenty of people who love his work, and his indie-folk style laced with themes of depression and alienation should be the kind of thing that I should be able to connect with, but to date, it’s never clicked. Let’s see if a closer examination of the work gets hold of me, as we dive into the final album released during his life. Funnily enough one of the things that stood out most about this record on first listen was the fact that, despite his reputation, this is a more chirpy record than I was expecting. Lyrically, the themes lean towards the darker side, but there’s plenty of more upbeat and front-foot musical intention at play. As the record progressed, I did feel like this was one of those projects in which the artist was never fully sure about what he was trying to achieve. Stylistically, it feels a bit scattergun, with stark, withdrawn melancholy making way for fairly middle of the road indie rock, before diving off for something more akin to the Beatles or Beach Boys. That wouldn’t be an issue per se, but to me it feels like there’s a lack of central thread to the work that would allow those disparate parts to come together into a cohesive narrative arc. It isn’t helped by the fact that this album is way too long, and had it been chopped down to 40 minutes or so, a more consistent tonal approach, or a stronger narrative may have been able to be imparted. Musically, one of the key aspects that I butted up against, is that Smith appears to have a fairly indecisive approach to melody a lot of the time. He does occasionally touch on something great, but all too often things feel quite meandering and lacking in definition. That’s really not helped by his vocal delivery, which is frequently non-committal and wispy to the point that it almost floats by hoping that you’ll notice it rather than grabbing your attention. It’s a shame, because there are moments of quality within the work, but I often found myself hunting for them, rather than just being able to lean back and enjoy the ride. Ultimately, I have kind of ended up back where I started with Elliott Smith, at least when it comes to this record. There’s obviously some quality in there. He writes some interesting orchestrations when he uses larger instrumental mixes, he can build good atmospheric productions, and he knows his way around a rhythm. But ultimately, I find his work too melodically undefined, his vocal delivery not particularly endearing, and his stylistic approach too inconsistent. It may just be a personal preference thing, but I don’t really get it. It wasn’t terrible, but it also wasn’t something I’m particularly interested in coming back to either. Son Of Sam - This is a bit more twee and chirpy than I was expecting. The piano following the main vocal melody so closely isn’t something I’m particularly in love with, but the work around that is very good. The instrumental sections have great range and some interesting bits of orchestration. It’s an interesting start, but I’m not completely convinced by this just yet. Somebody That I Used To Know - The slightly roaming nature of the vocal melody here is quite interesting, and is enhanced by the closely recorded vocal production. There’s some solid guitar work in there and the general vibe floats between wistful melancholy and a more upbeat sense of movement. Again, it’s not bad, but it hasn’t grabbed me yet. Junk Bond Trader - The gentle swing of the groove here is pretty good. The full orchestration and backing vocals work well to give a denser and more developed sound world. Things do become a little more plodding through the middle, but there are some cool bits of playing, particularly from the guitar as the track transitions back out into the more swung groove. There’s a certain charm to this that I quite like, and it feels like the album is maybe starting to get into its groove now. Everything Reminds Me Of Her - And this is a bit more what I was expecting from Elliott Smith. It’s melancholic, with a slightly withdrawn vocal performance, made interesting by the double-tracked production style. The sombre and stark nature of the production works very well, although I do think that sometimes he goes a bit too punchy with his attack on some lyrics, which adds a bit too much force for my tastes. Everything Means Nothing To Me - Again, this is quite melodically indistinct, and there’s a bit too much echoing of the vocal line in the piano. And the drums that come in are fucking awful. They’re clashing and brash and overwhelm everything else, as well as being to swathed in effects. Not for me, this one. LA - This is better, and we get a bit some interesting more of that swung groove, with some solid swagger and punch to the rhythms. It’s quite late 90s/early 00s indie coded, but I think there’s something a bit more interesting about it than that summary suggests. There’s some decent developments and rhythmic choices. The vocal performance feels a bit generic though. In The Lost And Found (Honky Bach) - I feel like Smith has used the same melodic motif that he uses here quite a few times on this record already. And I can’t quite get a grip on what he’s actually trying to do with this record, because it feels a bit stylistically all over the place. Again, this is a bit floaty and melodically indistinct. There’s something very Beach Boys about certain elements of this, but there’s not the strength of vocal performance or melodic writing to really capture that essence and deliver it to the heights he appears to be aiming for. Meh. The Roost - And then we get this bit of sonic messing around that’s entirely pleasant, but is quite aimless, especially on a 52 minute record. Stupidity Tries - Still not sold on the vocals, particularly the dragging out of “tries”, but taking a breath half way through. The dynamic range of this is pretty good, and there’s a good rhythmic base to it. Melodically, there’s some really good stuff in here, but it does have a tendency to meander or repeat here and there too. It’s another much more dense production, and it’s another where I’m not quite sure how coherent this album is as a whole. Easy Way Out - There are some really great moments in this track. The guitar work set against the string arrangements are really effective, and the vocal harmony work is really pretty too. I do think melodically, it continues to be a bit roaming and indistinct in places, although when he gathers it up to sing the song title, it comes together beautifully, especially at the end. Wouldn't Mama Be Proud? - This feels a bit more generic indie, but his vocal style is a bit too wishy-washy for the more forward nature of the track. I’m not a fan of some of the organ tones at all. Melodically, this is quite samey, and while there are aspects of it that I don’t mind, as a whole it just feels a bit indistinct and not vastly interesting. And this album already feels too long. Color Bars - Another with nice elements, but it just feels melodically rambling and like it dances around ideas, rather than actually committing to anything. I’m all for unresolved tension in music, in fact, I often love it, but this feels like it’s supposed to have resolution that doesn’t ever fully connect. He struggles when he tries to sing higher near the end too. Happiness - The swagger to the groove here is better again, and I like the organ work in particular. I was definitely tapping my feet along to this one, and while it still feels a bit melodically meandering, the general vibe and production connects with that uncertainty in a more coherent way, so things feel a bit more directed. And then it feels like things get stuck in a bit of a loop towards the end. The production as things pull apart at the end is cool though. The Gondola Man - Meh, another little piece of incidental musical fuckery on an overly long record. Pretty Mary K - This is very Beatles-esque. It feels like one of the more forward vocal performances on the record, at least in part due to the double-tracking. While it does roam around a bit here and there, it feels more purposeful and directional. The production and orchestration is full and interesting, and there are some great moments of vocal harmonisation. Some of those chord changes are fantastic too. This feels much more like it. I Better Be Quiet Now - This is quite pretty too, and the softer, less distinct vocal performance in this instance gels really nicely with the songwriting. I think there’s a bit more focus on the melodic work, and the more distinct separation between vocal and instrumental work (for the most part), give this broader musical quality. Pretty nice stuff. Can't Make A Sound - The pace of this is a bit dragging, and while there are some nice bits of vocal harmonisation, the lead vocal feels a bit limp, despite him trying to give it punch here and there. I don’t really like the way that it builds into an almost cacophonous, clattering and thick orchestration that feels too heavy for the prominent guitar and soft vocals to sit comfortably against. It reminds me a bit of Everything Means Nothing To Me in that regard. Bye - And now a lo-fi bit of piano tinkling that again feels pretty redundant and incidental, as well as being fairly meandering and unfocused, ultimately rounding out a fairly sonically muddled record with something suitably disconnected.

Более масштабные и насыщенные аранжировки не улучшают восприятие музыки Эллиотта Смита. Напротив, барочные элементы и многослойный продакшн не делают композиции выразительнее или запоминающееся. Аскетичное звучание Either/Or оказалось предпочтительнее, хотя и оно не вызвало сильной привязанности. Figure 8 не оставляет достаточных причин для повторного прослушивания.

It had like three good songs on it, but none of the songs were absolutely terrible just a little early 2000 charm

Nothing about this music speaks to me for some reason

Enjoyed this!

I love Elliot Smith acoustic solo, lo-fi garagy style. Chamber pop not so much.

Beautiful and haunting as ever. Maybe could have lost a couple of the weaker tracks.

Odd album. Mostly him with a guitar or occasionally piano, less commonly with full band backing. Strange little tunes, not terribly melodic, sung in his high whispery tenor, which is as hard to get used to in its own way as Leonard Cohen‘s voice. Everything is slow to medium in tempo. Stretching to give this a three.

When I sold all my CDs because I was moving too often and was hard to carry them with me and I had everything in digital I only kept Tool albums because of the packages and this Elliott Smith album. A lot of people say it's a Beatles tip off but I think it's an improvement and I love every second of this.

i feel like ive heard this guys name but im not sure why. definitely haven't listened to his music. its ok..? another of those ones thats just kind of constant in quality for better or for worse. and in this case that means its spending the whole 50 minutes or so locked at "yeah its pretty alright". theres a few tracks that stand out a bit more, like "everything means nothing to me", "better be quiet now", and "bye" (although in the case of that last one i think its mostly cos its giving flash binding of isaac ost a little bit). i like his voice and the stuff he does with it (the double tracking, the processing, etc), and i like the variety in the instrumentals. but i feel like for the most part i just kept wishing one of the many dream pop or shoegaze adjacent moments in this album would finally give way to going all in on it. idk. i guess no amount of musical skill can get me to enjoy a genre if i already dont really enjoy it.......

Quite lovely. Apparently I have a soft spot for melancholy singer-songwriter stuff. Who knew. Also, the outcome of this guy's story...what the fuck man!?!?!?!?!

Solid album. His songs all feel very Lennon / McCartney esque which is a good thing. Will definitely revisit this one.

Boring

Fine songwriting and melodies very talented

Review - Only ever really listened to XO and some b-sides. This is a good album and worth a listen, but honestly not his best work. A bit overproduced, a bit twee. Not bad for what it is, and very different to what was commonly accepted as good rock music when it came out, so have to respect the dedication to his vision. But it's not his best work. Score - 7/10 Need to listen? YES

I was thinking about giving this a 5, but i just think there's something about this album which just doesn't match his earlier work. I think the vocals are slightly weaker in places, but having said that, what a talent. This music meant so much to me when i was a late teen. RIP elliott smith

There's some great stuff on here, especially in the beginning, but then it kinda drags on for me. I've always thought XO was a much better album. Even so, this is a lot better than other artists in the same style.

This album is the epitome of a 3.5 album. It's better than a 3; it's got some interesting sounds that are better than just 'fine'. But it's not a 4; I never really got into this much. Given the latter, I think I'm rounding down this one. I'd still be just okay if this was playing, but not into it. This brand of indie rock is respectable, but not for me.

There's nothing explicitly bad about this record, but man, it is boring. It's definitely more pop-focused than the last Elliott album I heard, and the vocals feel flat with way too many studio effects. The music and guitars are decent, and it’s a weird mix of depressing lyrics with a lively sound. But at 16 songs, it just drags on and on—I only ended up saving two tracks. After hearing his first couple of albums, I don't feel any urge to dig deeper into his discography. I am sure depressed people will love this though.

Pop Rock, outdated.

I was not previously aware of Elliott Smith. This is a really nice rock singer-songwriter album with quite a few ballads. The orchestral elements are really well done. Smith was clearly a very emotional and sensitive man with a talent for songwriting who sadly died too young. My main criticism would be that the vocal performances are only OK but not excellent and sometimes sound a bit flat like he’s on autopilot. But the quality of the songs and instrumentals makes up for it

Elliott Smith was an absolute genius. (vinyl)

Like a mini Beatle, not bad.

Mopey

This was alright, definitely hit and miss, but I'm glad to have listened to the whole album.

Lovely little pop album. Nicely done Elliott.

Strong 7 light 8

4/10

Ene parkrat sm že probala poslušat Elliotta, pa mi takrat ni potegnil. Probejmo še enkrat. (Čeprav, pomojem sem takrat album XO probala.) Ok, tokrat mi je pa prou prijeten. Ampak, da bi pa kj posebej izstopal? Hmmmm. "Can't Make a Sound" mi je bil všeč.

Muito chato... Tentaram ser uns Beatles com uma pilha fraca. Parecia que não acabava nunca. Não é ruim, mas é mais um genérico.

6.5/10

A couple of good-ish songs, but holy shit his voice is annoying. The melodies and instrumentals are good, though.

Very well made but I dislike music that doesn't derive energy from dark feelings.

Blending trad folk with the sound of the times, 90s alternative rock, Smith was primed for a move towards international stardom when he tragically passed a few years following the release of this record. Great production, and some killer songs- "Junk Bond Trader," the tender "Everything Reminds Me of Her" are buoyed by a forgettable middle stretch. Still liked the album overall and found it a good listening experience overall!

Some interesting and varied tracks.

favourite song: everything means nothing to me

Not the Elliott Smith I would’ve picked but 3 stars.

This was fine. Mellow and understated. Fit my mood quite well. Maybe it's one to return to...

Elliott is a 5 artist for me. I wish XO were on the list. 5 Boolean: True

A lot of great songs on this record, but I don’t think it’s as strong as Either/Or or XO. One of Elliott’s greatest strengths was creative chord voicings and arrangements, and he excelled at that on this album. Favorites: Everything Means Nothing To Me, Color Bars, Somebody That I Used To Know, Junk Bond Trader.

Very good stuff

Grating voice

quite enjoyed this. feels like an album that will also grow on me over time as I learn the lyrics and play a few songs on my guitar. quality stuff. 3.63/5

#491/1001. Beautiful album. I wasn't really aware of Elliot Smith's music before this project, so yes, I am grateful. Haunting at times, soft yet bitter, sad but joyful. Chamber / orchestrated pop next to simple man and a guitar songs. Hearing it now for the second or third time, and there is nothing that starts to bore. Too bad his life habits after the album eventually led to his demise.

The arrangements and performances are great. Songs are not as consistently excellent as they are on his previous records.

Just gorgeous

It's hard to give this less than a 5 but it's really not as good as the others.

Sounds Beatles-like. Knew one song already for some reason.

Destaque do disco é a ambiência sonora agradável trazendo canções líricas e interpretações minimalistas.

Wow, that was worse than I expected. Extremely boring and forgettable.

Elliott gives up the sad guy with guitar bit, gets an electric backing band, goes full Beatles, and comes out with his own version of something between Rubber Soul and Revolver.

Talented. There is a little Beatles in his music but I liked it very much. This was the first time I have heard about him.

Not sure I’m in the best mood to listen to this today. I’m hooked enough to revisit again.

Not much range in this album, but sometimes you just need 52 minutes of listenable 2000’s background music to knock out some chores. 6/10 Favorites: - Junk Bond Trader - LA - Stupidity Tries

Wow, I can’t make a sound… Closest to a 5 I’ve gotten so far. Also why are all the deluxe tracks so great?

Loved the louder moment, thought Smith's voice was too thin and precious for the slower parts. Several times I thought I would be enjoying it more if Ben Folds was singing. Didn't hate it, but it's not staying in my playlist.

Pretty solid indie pop/rock. "Son of Sam" is a big standout - that bass groove really appeals to me. Cool song. "LA" has that feel too, a nice rocking song with a solid bass backbone. This is nothing like Ween at all (barring maybe some of their most accessible stuff), but Smith's voice kinda reminds me of Gene Ween's at times. A bit long, but never a chore to listen to. Solid.

I adore Elliott, but this move to bigger pop production just feels off at times. Like Aimee Mann's forays with Jon Brion, this feels overproduced by Tom Rothrock to the point that some pretty good songs get numbed down too hard. But it's Elliott Smith, and there's no shortage of gorgeous songwriting here, especially when the pop production really matches the style. An uneven effort but definitely listenable.

Eu vi que a produção do álbum ocorreu entre 1998 e 2000 e, confesso, fiquei bastante surpreso com essa informação. Se este álbum fosse colocado em uma coletânea dos anos 70, duvido que alguém questionaria sua presença. É um álbum com alma de Beatles. É um álbum melancólico (alô, Everything Means Nothing to Me). É também calmo, acolhedor e extremamente agradável de ouvir. Em nenhum momento o achei monótono. Pelo contrário, existe muita criatividade aqui. Quando escuto In The Lost And Found (Honky Bach) / The Roost, sinto como se estivesse no sofá da sala assistindo à história de um jovem caminhando por um parque. De repente, ele passa por um lugar familiar e as lembranças começam a ir e vir. E é justamente nesse momento que o filme conquista o espectador.

8/10

3⭐️

The penultimate Elliott Smith album and his most cohesive in my opinion. I was intrigued the first time I remember hearing Elliott Smith via “Needle in the Hay” in “The Royal Tenenbaums” I surely had heard him earlier because I’d watched “Good Will Hunting” but it didn’t stick at the time. This though is Smith with the most studio freedom, the songwriting, musicianship, is impeccable. Not a bum track in the batch, well structured and paced. Sad, but if you know what you’re getting into that’s to be expected. Always worth a listen. Probably in my top ten personal favorites of all time.

Hadn't listened to this for a long time. Generally it's better than I remembered, although the vocal style world better in some songs than other. Having said that the overall songwriting is strong and it's certainly an album that had some influence at the time. Like most 90's albums it's too long, leaving the last quarter to drag

I appreciated the introduction to Elliott Smith. I like the simple sound of just a man and his guitar, nothing too crazy.

take it or leave it

This is my first listen of this particular album from start to finish, but I used to listen to Elliott Smith a lot with a friend of mine in college, so I probably heard several of these tracks. I like Elliott Smith a lot, but most of his songs do sound the same to me. I added the following songs to my liked list: Junk Bond Trader, Easy Way Out, Can’t Make a Sound. Those are just the ones I vibed the most with on this listen, but it could be others next time.

This might be the first piano rock I have ever enjoyed. Subtle strangeness and interesting compositions. A pleasant surprise.

My relationship to the discography of one Steven Paul Smith, also known as Elliott Smith, has been long. I was introduced to him at age 11, with his song “Waltz #1,” and I’ve come to know his music as synonymous with the sensitive, depressed indie boy style of many a man I know. Like these men, some of Smith’s albums are pathetic, and some of them are awesome. An example of his more pathetic side is his celebrated self-titled, which has maybe one good song and a bunch more that are known as good but in fact are not. An example of his awesome side is what is oft-touted as his magnum opus, 1997’s Either/Or, which is full of urban, melancholy songs, with some of the most iconic moments in his catelogue. This album… is pretty good. 2000’s Figure 8 is held with equal reverence to the aforementioned albums as one of Smith’s greatest works, some sort of titan of indie. And don’t get me wrong, it’s not too much worse or better than any of his stuff, and if you look closely at any of his albums you’ll find plenty of great songs (on here the most obviously good is “Somebody That I Used To Know,” which has some of the best lyrics of any of his songs), but generally his catelogue is fretfully overrated. “Son of Sam” is pleasant, “Junk Bond Trader” is incredibly unimpressive, as is almost every other song here up until “In The Lost And Found,” which is super pleasant and well-written. The best part of Smith’s work is the comforting depression of urban life, living in a big city and doing big city things and feeling awful. It really works less than you’d think, but “Wouldn’t Mama Be Proud” achieves it easily. So do “Color Bars” and “Easy Way Out,” with the whole subtle accusation thing that Smith is so deeply proficient at. I believe it picks up a bit in the second half, with some actually really interesting songs, but it’s really not enough to save how boring parts of this album are. Pleasant though. I guess. 5.8/10 DOES IT BELONG ON THE LIST: I guess. REASON: I mean it’s good sometimes. It’s better than XO and self-titled.

Pleasant surprise how much I enjoyed this. Knew of him, but had never heard his stuff. Reminded me on occasion of Ben Folds stuff which is no bad thing

Not BAD music, easy listening. Some interesting songwriting elements that stood out. But not something I think I would reach for to listen to again. Perhaps another album of his.

Either/Or is my favorite Elliot Smith album. This one could stand to be a bit more concise, but there’s still alot to love.

I guess I just don't get it with Elliott. Son of Sam from the Good Will Hunting soundtrack is the only standout, with a few other tracks perking my ears. 2/5

Never heard of Elliott Smith before this listen, but I rather enjoyed the album. Nice, when you get something better than expected. Not sure what sets it apart, but the writing, singing, and production all seemed solid. I’d listen to him again.

Did I like this, or do I just love Joshua Radin, who was heavily influenced by Elliott Smith? I enjoyed it, though I think he walked so Radin could run.

This sadboy is actually pretty good.

There have been sadder sadbois

Depressed motherfucker. Great songs, last one creeps me out

Kind of bland, but had one or two songs that went quite hard, not sure I like his voice much, bit whiny

Perfect album,

I never heard of Elliot Smith before. But I like his music.

Hadn’t heard of him before. Liked the vibe.

A first for me which took a while to get going, but when it did, an enjoyable collection of songs with a sad lyrical narrative. I'll listen to more Elliott Smith.

A new artist to me but really enjoyed the album. A real mix of style but holds together well

I didn't know anything about Elliott Smith before today. But after listening to this collection of plaintive and unusual pop songs I'm wondering why. A very rare 4* for a first listen.