{"id":1112,"date":"2020-10-30T14:00:00","date_gmt":"2020-10-30T14:00:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2020-10-30-revisiting-elliott-smiths-figure-8\/"},"modified":"2020-10-30T14:00:00","modified_gmt":"2020-10-30T14:00:00","slug":"2020-10-30-revisiting-elliott-smiths-figure-8","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2020-10-30-revisiting-elliott-smiths-figure-8\/","title":{"rendered":"Revisiting Elliott Smith\u2019s Figure 8"},"content":{"rendered":"
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\"Figure<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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By Anna Wojnarowski<\/strong><\/p>\n

There is something haunting about the final track of Elliott Smith\u2019s Figure 8<\/em>. Titled \u201cBye\u201d, an instrumental lullaby of sorts, it ends the last album that Smith would be alive to see released. Twenty-twenty marks the twentieth anniversary of Smith\u2019s fourth record. An album that at first, no one really knew what to do with, as time has gone by, it\u2019s become a blueprint for all the artists that he has inspired and influenced.<\/p>\n

When asked about what he thinks this album means, Smith said that making it felt like an \u201cendless little task that doesn\u2019t have any real point to it but it might look good if you stop and look at it.\u201d His philosophy on music has always been that it has no real meaning and that he made it as nothing more than \u201csomething to do.\u201d That feeling of aimlessness but doing something in spite of it is the crux of both this record and the legacy of it.<\/p>\n

His most idiosyncratic song off the album, \u201cEverything Means Nothing To Me\u201d has a melody that gives the illusion that it doesn\u2019t know where it\u2019s going. Going up the scale and back down only to zig-zag around itself, it\u2019s a triumph of the spirit and one of the best articulations of absurdism that has been put to tape. Going beyond his trademark whispers, Smith pulls notes out of himself that reflects someone who is trying to make sense of something that is not meant to have any. The chorus, which is just the title being repeated seventeen times, deconstructs its meaning until the sentiment itself has no significance. With piano leading the way until there is an explosion of cosmic synth and drums, the track becomes otherworldly. One can compare it to Alex G\u2019s \u201cHorse\u201d, a song off the genre-bending 2017 record, Rocket<\/em>, who said that his early work was \u201cjust rip[ping] off his shit!\u201d. Observing the unpredictable notes that \u201cEverything Means Nothing to Me\u201d deploys, \u201cHorse\u201d takes it a step further and almost randomizes the notes into (barely) contained chaos. \u201cBig Fish\u201d, also on Rocket<\/em>, <\/em>is a more obvious dedication to Smith\u2019s sound: soft harmonies, repeated phrases, and a simple melody that gives the spotlight on the voice that carries it. <\/p>\n

With Figure 8 <\/em>being the second record that Smith made under DreamWorks Records, critics and fans didn\u2019t know exactly how to feel about the once indie artist, who once worked with Kill Rock Stars, now working with an incredibly un-punk mainstream record company. A departure from the intimate sound of 1997\u2019s Either\/Or, <\/em>the beautiful darkness of his 1995 self-titled record, the coupling of grunge and acoustic demos in 1994\u2019s Roman Candle<\/em>, or even the lauded XO <\/em>(also made under DreamWorks), Figure 8 <\/em>was a record that Pitchfork\u2019s Ryan Schreiber wrote was \u201cwithout a doubt, another step down from XO<\/em> in terms of songwriting, even if its production has taken a step in the right direction.\u201d Production that is overtly Beatles-esque (a sound that Smith played with more subtly in his previous works), Smith\u2019s songs create a harrowing juxtaposition between the band\u2019s distinct up-tempo beats and Smith\u2019s defeatist lyrics. The album, which Smith spent a week recording at the famed Abbey Road Studios, includes \u201cPretty Mary Kay.\u201d Maybe the most obvious homage to Smith\u2019s childhood love of The Beatles<\/em> (also known as White Album), it starts small with intriguing electric strings, then slowly expanding with light drums and then before you know it, a harmony that makes Smith sound like he\u2019s in a four-piece band. Reminiscent of \u201cI\u2019m So Tired\u201d and \u201cDear Prudence\u201d, Smith takes that sound and grounds it with progressive slowcore elements. <\/p>\n

Twenty years later, what The Beatles were to Smith is what Smith is to some singer-songwriters now: \u201cIt\u2019s like The Beatles to me, and I mean that in every way,\u201d said Bridgers in an interview for NPR. On \u201cSavior Complex\u201d, a track off of her 2020 record, Punisher<\/em>, the chords directly mirror the fourteenth track of Figure 8<\/em>, \u201cBetter Be Quiet Now.\u201d Both self-reflections on how one deals with relationships, the rawness of this track, amongst others in Figure 8<\/em>, is a lasting feature on the indie\/singer-songwriter genre that Smith left behind and others subsequently picked up.<\/p>\n

It would be satisfying to say that this album, with its pop tendencies and dense storytelling, had a happy ending. Unfortunately, this record marked the beginning of the artist\u2019s worsening struggle with addiction and depression. Hints of that trail into the album\u2019s B-side. With \u201cCan\u2019t Make a Sound,\u201d Smith grapples with the numbness he feels in the outside world while also trying to discern the mental isolation that he feels toward himself: \u201cI have become a silent movie \/ The hero killed the clown \/ Can\u2019t make a sound \/ Can\u2019t make a sound \/ Can\u2019t make a sound\u201d <\/em>and \u201cBored in the role, but he can\u2019t stop \/ Standing up to sit back down\u201d<\/em> are emblematic of Smith\u2019s feelings toward the new record label, the people he surrounds himself with, and himself. In 2003, Conor Oberst spoke to All Things Considered and said that Smith \u201chad the ability to answer feelings in others that he was unable to answer in himself.\u201d <\/p>\n

At the end of Pitchfork\u2019s review, Schreiber writes that \u201cin the grand scheme of things\u2026.you only need to hear so much Elliott Smith before you get the point.\u201d If that statement is true, then twenty years later, it\u2019s amazing how the world has still not heard enough.<\/p>\n

\n<\/div>\n","protected":false},"excerpt":{"rendered":"

There is something haunting about the final track of Elliott Smith\u2019s Figure 8<\/em>. Titled \u201cBye\u201d, an instrumental lullaby of sorts, it ends the last album that Smith would\u2026 <\/p>\n","protected":false},"author":1,"featured_media":1113,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[25,26],"class_list":["post-1112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-feature","tag-historical-perspective"],"yoast_head":"\nRevisiting Elliott Smith\u2019s Figure 8 - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Revisiting Elliott Smith\u2019s Figure 8 - wecb\" \/>\n<meta property=\"og:description\" content=\"There is something haunting about the final track of Elliott Smith\u2019s Figure 8. 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