-
neumu
Thursday, July 31, 2014 
-
-
--archival-captured-cinematronic-continuity error-daily report-datastream-depth of field--
-
--drama-44.1 khz-gramophone-inquisitive-needle drops-picture book-twinklepop--
-
Neumu = Art + Music + Words
Search Neumu:  

illustration
44.1kHz = music reviews

edited by michael goldbergcontact




Editor's note: We have activated the Neumu 44.1 kHz Archive. Use the link at the bottom of this list to access hundreds of Neumu reviews.

+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
+ Growing - Color Wheel
+ Red Carpet - The Noise Of Red Carpet
+ The Essex Green - Cannibal Sea
+ Espers - II
+ Wilderness - Vessel States

44.1 kHz Archive



peruse archival
snippet
    
artist
Elliott Smith
recording
From A Basement On The Hill
Anti
snippet
rating


Elliott Smith wrote a lot of sad songs in his short career, before his sad, short life was abruptly aborted last October by a presumed — and horribly apropos — self-inflicted stab wound to the heart. None compare to those compiled for the rough-edged, posthumous collection From a Basement on the Hill: the familiar, feathery finger-picking on "Let's Get Lost" masking an anti-anthem of dark and devastating helplessness; "The Last Hour" hiding nothing as it carries Smith's death wish on a slight, slightly dissonant frame, constructed with unpredictable minor-key chord progressions borrowed from Abbey Road, the artist's longtime favored muse.

Perhaps saddest of all, there's the near-sickly self-deprecation of "Pretty (Ugly Before)," its strange, satisfied lyrics and reflective tone now serving as a musical suicide note to Smith's many devotees. "I felt so ugly before," he sings over an orchestral backing of piano-led instrumentation, pouring out his fragile psyche with the concession, "I didn't know what to do."

Anyone with the inclination (and a familiarity with Kazaa or Limewire) heard most of these warning signs years ago, as barroom versions streaming out in stripped-down, scratchy MP3; thus for hardcore fans, this record will hit with the uncomfortable comfort of an abusive spouse, a sting not nearly remedied by the payoff of a final fleshing-out.

Casuals can revel once more in Smith's unrivaled melodic gifts, doled out here in droves: "A Fond Farewell" offers up the album's most assured structure with a lovely strummed, four-chord guitar ballad, while the venomous "King's Crossing" contains Smith's trickiest wordplay, hideous visions dancing disturbingly over an ominous kick-drum crescendo ("It's Christmas time and the needles on the tree/ A skinny Santa's bringing something to me").

The painful clarity of these lyrics seems to be missing from many of …Hill's arrangements, however; unlike the crystalline, cresting either/or — in retrospect, the clear zenith of Elliott Smith's six-album recording career — this final record is neither focused nor infallible, instead a rarer glimpse at a man whose creative doorways, once the source of so much hope and inspiration, had become outnumbered by his demons.
 
 


by Noah Bonaparte




-
-snippetcontactsnippetcontributorssnippetvisionsnippethelpsnippetcopyrightsnippetlegalsnippetterms of usesnippetThis site is Copyright © 2003 Insider One LLC
-