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Accomplice Series, Vol. 3
Tommy Emmanuel
International Pop - Released June 24, 2022 | CGP Sounds
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Figure 8
Elliott Smith
Rock - Released April 18, 2000 | Geffen
Judging only by his earlier, bare-bones indie-label albums, it seemed highly unlikely that Elliott Smith would turn into the ambitious arranger and studio craftsman of his lushly textured Dreamworks debut, XO. A big part of that shift, of course, was the fact that Smith had major-label finances and equipment to work with for the first time; this allowed him to fuse his melancholy, slightly punky folk with the rich sonics of pop artists like the Beatles and Beach Boys. Smith continues in that direction for the follow-up, Figure 8, an even more sonically detailed effort laden with orchestrations and inventive production touches. With a couple of exceptions, the sound of Smith's melancholy has largely shifted from edgy to sighingly graceful, although his lyrics are as dark as ever. Even if the subject matter stays in familiar territory, though, the backing tracks are another matter -- a gorgeous, sweeping kaleidoscope of layered instruments and sonic textures. Smith fleshes his songs out with assurance and imagination, and that newfound sense of mastery is ultimately the record's real emphasis; there's seemingly a subtle new wrinkle to the sound of every track, and yet it's all easily recognizable as trademark Smith. Even if it is a very impressive statement overall, Figure 8 isn't quite the masterpiece it wants to be -- there's something about the pacing that just makes the record feel long (at over 52 minutes, it is the longest album in Smith's catalog), and it can sometimes float away from the listener's consciousness. Perhaps it's that Smith's songwriting does slip on occasion here, which means that those weaker tracks sink under the weight of arrangements they aren't equipped to support. Still, most of the songs do reveal their strengths with repeated plays, and it's worth the price of a few nondescript items to reap the rewards of the vast majority. Fans who miss the intimacy of his Kill Rock Stars records won't find much to rejoice about here, but overall, Figure 8 comes tantalizingly close to establishing Elliott Smith as the consummate pop craftsman he's bidding to become.© Steve Huey /TiVo
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Somebody That I Used To Know (feat. Kimbra)
Gotye
Dance - Released April 20, 2012 | Sample N' Seconds Records
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Somebody That I Used to Know
Three Days Grace
Rock - Released July 22, 2020 | RCA Records Label
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Somebody That I Used To Know
James Cole
House - Released August 4, 2023 | Glasgow Underground
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PTX, Vol. 1
Pentatonix
Pop - Released June 26, 2012 | RCA Records Label
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Somebody That I Used to Know
Walk Off The Earth
Pop/Rock - Released January 6, 2012 | Columbia
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Somebody That I Used To Know
BENEE
Alternative & Indie - Released July 9, 2021 | Republic Records
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Shows and Distancing: Live in the USA
Mike Dawes
Classical - Released October 30, 2020 | Qten Records
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Somebody That I Used To Know
BENEE
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Somebody That I Used To Know
Pop Goes Ambient
Pop - Released June 30, 2023 | Cool Online
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Glee: The Music, The Complete Season Three
Glee Cast
Pop - Released March 21, 2024 | Columbia
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Somebody That I Used to Know - Single (Tribute to Gotye, Kimbra & Walking Off the Earth)
Now You're Just Somebody That I Used to Know
Pop - Released April 20, 2012 | New Style Recordings
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SOMEBODY THAT I USED TO KNOW HARDSTYLE
SICK LEGEND
Dance - Released July 22, 2022 | SICK CVNT
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8D Tunes
Electronic - Released December 12, 2023 | 8D Tunes
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Figure 8
Elliott Smith
Rock - Released January 1, 2000 | DreamWorks
Judging only by his earlier, bare-bones indie-label albums, it seemed highly unlikely that Elliott Smith would turn into the ambitious arranger and studio craftsman of his lushly textured Dreamworks debut, XO. A big part of that shift, of course, was the fact that Smith had major-label finances and equipment to work with for the first time; this allowed him to fuse his melancholy, slightly punky folk with the rich sonics of pop artists like the Beatles and Beach Boys. Smith continues in that direction for the follow-up, Figure 8, an even more sonically detailed effort laden with orchestrations and inventive production touches. With a couple of exceptions, the sound of Smith's melancholy has largely shifted from edgy to sighingly graceful, although his lyrics are as dark as ever. Even if the subject matter stays in familiar territory, though, the backing tracks are another matter -- a gorgeous, sweeping kaleidoscope of layered instruments and sonic textures. Smith fleshes his songs out with assurance and imagination, and that newfound sense of mastery is ultimately the record's real emphasis; there's seemingly a subtle new wrinkle to the sound of every track, and yet it's all easily recognizable as trademark Smith. Even if it is a very impressive statement overall, Figure 8 isn't quite the masterpiece it wants to be -- there's something about the pacing that just makes the record feel long (at over 52 minutes, it is the longest album in Smith's catalog), and it can sometimes float away from the listener's consciousness. Perhaps it's that Smith's songwriting does slip on occasion here, which means that those weaker tracks sink under the weight of arrangements they aren't equipped to support. Still, most of the songs do reveal their strengths with repeated plays, and it's worth the price of a few nondescript items to reap the rewards of the vast majority. Fans who miss the intimacy of his Kill Rock Stars records won't find much to rejoice about here, but overall, Figure 8 comes tantalizingly close to establishing Elliott Smith as the consummate pop craftsman he's bidding to become.© Steve Huey /TiVo
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