Seven years ago today Elliott Smith died. I remember exactly where I was when I heard the news.
I was in the newsroom of the University of Washington Daily and I happened to be listening to XO while studying. It was a very eerie moment. I remember the news of Smith’s death dropping on deadline day for the weekly arts publication so I called up my editor and requested to write an obituary.
To commemorate Smith’s life and his music here is that obituary which was published in the UW Daily.
Seattle lost another of its musical icons with the death of acclaimed singer-songwriter Elliott Smith Tuesday.
Best known as a passionate indie rocker with a do-it-yourself approach to his music, Smith is the latest in a line of Seattle musicians whose lives met an abruptly tragic end.
His early, independent releases are a staple of many indie-rock fans’ collections. The albums Either/Or, Roman Candle and his self-titled release helped distinguish his brand of folk-punk as a style all his own.
Before releasing his successful solo albums, Smith gained an underground following with the Portland, Ore. group Heatmiser. His work in Heatmiser established a relationship with the Olympia-based label Kill Rock Stars, which sparked his solo career.
His lyrics both warm the heart and sadden the soul. Soft, emotional songs such as “Say Yes” and “Sweet Adeline” are shining examples of the blissfully sublime love songs that were a product of his introspective lyrics. Conversely, the bulk of his material consists of songs about broken hearts and his personal struggles with addiction.
His DIY nature and his musical influence can be heard in many of today’s emo groups, such as Dashboard Confessional and Death Cab for Cutie.
The song “Miss Misery” from the Good Will Hunting Soundtrack, of which he was the main contributor, earned him an Academy Award nomination in 1997. The nomination gained him instant celebrity status and created a large buzz around his music, with industry executives drawing comparisons to Nick Drake and Brian Wilson.
After signing a deal with Dreamworks records, Smith released highly-acclaimed XO in 1998 and Figure 8 in 2000. He remained true to his individual brand of folk-punk even though record-label executives allegedly attempted to strong arm him into changing his style.
Although he achieved success, Smith remained somewhat reclusive and was uncomfortable with his status as an up-and-coming star. Smith did not tour frequently and when he did, he opted to open for acts such as Pearl Jam instead of headline his own tour.
When he headlined, he often performed at college campuses instead of larger venues, and chose lesser-know artists to open for him (he handpicked Grandaddy to open for his tour supporting Figure 8).
Smith was working on material for his upcoming album, tentatively titled From a Basement on a Hill. He was 34 when he committed suicide Tuesday evening.
