In the realm of the singer/songwriter genre, its history is split between two phases, before and after Elliott Smith. From an unassuming punk frontman to penning a discography of gorgeous acoustic rock, Smith strummed his way into history through vulnerability and poetry. It was clear from his 1994 debut that there was something special about the mysterious troubadour who moved all over the States since childhood, seemingly collecting experiences and new sensations to add to his artistic output.
By the time Elliot Smith released his third and arguably most iconic album Either/Or, it seemed he had reached a fever pitch in his creativity. That was until August 25, 1998, when he welcomed his fourth XO into the world, a stirring set of songs that allowed the artist to get a lot off of his chest via moving arrangements and heaven-sent melodies. At the time, Smith was coming down from all of the highs of his previous album yet these songs seem unfazed by the critical acclaim, the artist’s fourth album feels like a genuine snapshot of a man dedicated solely to his art.
Smith began recording XO almost immediately after the release of Either/Or, allowing his ideas to take shape until early 1998 when work on the album really began. Smith recorded the LP with producers Rob Schnapf and Tom Rothrock in Los Angeles with some demos from these sessions landing on the 2007 compilation New Moon, a collection of unreleased material put together after Smith died in 2003. What Smith left behind was a gorgeous discography lined with visceral acoustics and hard-hitting lyricism with XO feeling like a shining diamond in a mountain of bright gemstones. At the time of recording the album, Smith had just signed a major deal with DreamWork Records while also entering one of the deepest depressions of his life. Smith talked openly about his suicidal thoughts and heavy abuse of alcohol at the time, putting his pain behind every note played on XO.
The arrangements on his fourth effort are more full and lively than past releases, allowing artists like Jon Brion and Joey Waronker to add their magical touch to his musical wizardry. No one plays the guitar quite like Elliot Smith, the tones he chooses to deploy evoke a vast sea of emotions while still sounding so focused and honed, a juxtaposition that allows Smith’s words to become the centerpiece. “Waltz, No. 2” features a jumping piano melody that breaks down into Smith’s signature acoustic bliss while the stand-out track “Baby Britain” features a jazzy drum pattern. Smith forced his loftiest ideas to become a reality on XO, by allowing himself to experiment with his musicianship he was able to craft infectious orchestrations that pluck at your heartstrings almost as much as his vivid storytelling. The lyrics Smith penned for XO feel alive and come from such a genuine place of confusion and hurt, adding a layer of reality to his unattainable talents. “Pitseleh” features some of the darkest lyrics in his discography while “Bottle Up and Explode!” feels the sense of relief Smith seemed to long for.
Elliott Smith created something truly special with his fourth LP. XO feels cinematic as he allows his true emotions to drive the album and 25 years later, those feelings feel as real as the first time you remember hearing the music of Elliot Smith. Through a storm of critical acclaim, pressure from a major label, and a deep depression Smith emerged with jaw-dropping honesty and emotional honesty that grabs you and refuses to let go. When Smith passed, he left behind diary entries over whimpering acoustics and booming arrangements with XO feeling like the most freeing expression of an artist who gave everything and anything to his music.
