This disc has been sitting on my to-buy list for at
least six months. Who knows what finally motivated me to purchase
it after all this time, but I sincerely thank whatever forces
happened to intervene when I went binge-ing on Amazon.com.
Either/Or, the third full length release from
singer-songwriter Elliott Smith (also considered his last purely
indie release) is, from start to finish, perfection. Sure, that
might be a grandiose statement, but on this record, Smith truly has
polished his blend of quirky pop to create an insightful,
comfortable album.
“Speed Trials” is an ideal opener, showcasing Smith’s
lush acoustic melodies and whispery, honest vocals. It’s
backdropped by lyrics delivered in his signature low-key tone but
the sentiment behind lyrics like “You little child, what makes you
think you’re tough / When all the people you think you’re above /
They all know what’s the matter” is undeniable.
Next up is “Alameda,” whose sentimental chorus and
subtle, shuffling guitar arrangement make it one of the highlights
of the album. The thing about Either/Or, though, is that it
sounds best in its entirety — one of the few in which each track
is just as vital to the final result as the next.
On numerous occasions, Smith has been compared to
Nick Drake, The Beach Boys and The Beatles, among others, and the
effect of the latter is prevalent in his similar ability to shape
the ideal, two minute or so chunk of endearing pop. Just listen to
“Pictures Of Me” or “”Between The Bars,” which never fails to
remind me of “Blackbird.”
No doubt, my favorite on the album is “Say Yes.” It
manages to encompass the highs and lows, agonies and uplift of
relationship woes in lines like, “It’s always been wait and see / A
happy day and then you pay / And feel like shit the morning
after.”
Just listening to a track like “2:45 A.M.” proves why
Either/Or and Smith himself are near unparalleled. His
lyrics are self-aware, open and never afraid to project his own
vulnerability or faults. Whether he’s bemoaning love or throwing
caution to the wind in the strolling “Ballad Of Big Nothing,” Smith
contrasts the oft-appearing gloom and depression with engaging
choruses and delicate acoustic arrangements.
So whether you’re in love, out of love, angsty,
contemplative or just in search of a soundtrack to wile away a half
hour, Either/Or is the album for you. It may not be
groundbreaking in its originality, but it will stick with you long
after its run time, and that may just count for more.
