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168 of 187 people found the following review helpful
4.0 out of 5 stars A final summation of the work of a talented artist
There's obviously a certain amount of buzz surrounding this record. It's been a full four years since the release of Elliott's last studio album, Figure 8, and practically since that time, fans have been clamoring for the follow up. Rumors of Mr Smith releasing a defining work - the White Album of his time - began to surface. There were whispers of a double-disc release,...
Published on October 19, 2004 by Alex Junaid

3.0 out of 5 stars Three Stars
This was a good cd.
Published 7 months ago by J. Francis

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168 of 187 people found the following review helpful
4.0 out of 5 stars A final summation of the work of a talented artist, October 19, 2004
There's obviously a certain amount of buzz surrounding this record. It's been a full four years since the release of Elliott's last studio album, Figure 8, and practically since that time, fans have been clamoring for the follow up. Rumors of Mr Smith releasing a defining work - the White Album of his time - began to surface. There were whispers of a double-disc release, an epic masterpiece unlike anything in his back catalouge. And of course the biggest bucket of gasoline on the fire was the artist's death under dubious circumstances 363 days before the album sees the light of day.

In the wake of that tragedy, Rob Schnapf - a former producer and collaborator of Elliott's who worked with him on the masterful Either/Or - and Joanna Bolme - another collaborator in a similar fashion, as well as an ex-girlfriend - worked together to piece the completed tracks into a posthumous release. The result stands as a 15 song, single-CD collection that isn't quite the godsend it was rumored to be, but certainly stands with the best work of a very talented songwriter.

Were one to listen to Smith's six albums in order, there's a certain entropic element in the musical progression (not to mention that each record gets progressively longer - this clocks in just shy of an hour - six minutes longer than Figure 8 and nearly twice as long as Smith's solo debut Roman Candle. But I digress). From A Basement on the Hill continues in that tradition, as is evident right from the bombastic opening of 'Coast to Coast.' A spooky string ensemble gives way to a distorted and percussive bombast, typical of the harder-edged songs on this album. In addition, the electric-sludge mix of 'Don't Go Down' and the epic 'Shooting Star' (Smith's longest studio recording that I know of at six minutes) assure that this is the most "rock" album in the singer/songwriter's catalouge.

While the bulk of the songs fall into a pleasant middle ground, these powerhouse, wall-of-sound tracks are balanced out by quieter throwbacks to the more acoustic-driven style of Elliott's Kill Rock Stars albums (the self-titled work and the aforementioned Either/Or). The most obvious of these is 'The Last Hour,' an underprodouced vocal harmony and acoustic guitar track. The somewhat more uptempo 'Let's Get Lost' and the somber 'Little One' are a bit slicker sounding, but would still be at home on earlier works.

There are elements of the adventurous nature of this record scattered about here and there. For example, both 'Coast to Coast' and the superb 'King's Crossing' contain found-vocal samples and the latter takes nearly two minutes for the vocal to kick in - a change from Smith's typically very direct style. And then, there's 'Ostrich & Chirping' - a hallucinatory intermission that sounds like something out of a 1940's Disney movie.

For the first time, full lyrics are not included in the liner notes for the album - quite probably because of Elliott's passing. Instead, actual handwritten lyric sheets (one on hotel stationery, another obviously crumpled up at one point and all contaning cross-outs and margin scribbles) appear for a handful of the songs. But the vocals are mixed very cleanly and Elliott's characteristic themes of loss, addiction, death and anger manage to shine through. It's difficult not to reflect on Elliott's death when listening to Basement, but viewing the album as a suicide note is very much unfair, given the time period during which most of the songs were written (largely 2000-2002, to my knowledge). However, tracks like 'A Fond Farewell' with lines like "A dying man in a living room / whose shadow paces the floor / who'll take you out any open door / this is not my life / it's just a fond farewell to a friend / who couldn't get things right" or 'A Passing Feeling' which laments "Though I'm beyond belief / in the help I require / just to exist at all / took a long time to stand / took an hour to fall" do take on a new poigniancy.

The standout tracks here are the aforementioned 'King's Crossing,' and 'Twilight' - an absolutely heartbreaking ballad midway through with a devastatingly beautiful instrumental verse that's just icing on the cake. The record's closer is also noteworthy. The awkwardly titled 'A Distorted Reality is Now a Necessity to Be Free' has been renovated from the quirky b-side that appeared in late 2003. It now stands as a guitar driven crescendo and an acerbic political statement that closes things on a definite high note.

There's some question, of course, as to how this version of the album would stand against what we might have seen had Elliott lived to oversee it's release. Unfortunately, it's one of those things we'll never have the answer to, but what we do have is a very fine album, to be sure. It's not as raw as Either/Or or as immediately accessable as XO, which are generally regarded to be his two finest works. But nor is it as fussy and relatively emotionless (relatively being the operative word there) as Figure 8. Instead, I'd go so far to say that, because of how it was finally created, Basement is probably the most peculiar balance of a raw unpolished messiness and carefully constructed melody, and it's certainly the biggest "grower" (that is to say that it takes a little time to really appreciate) in Elliott's catalouge. The only taint on this worthy addition to the canon, is that it is the final work, yet it seems to sit right on the edge of something incredibly profound, and just as elusive. Though maybe that, in and of itself, is a testament to a great man's genius.
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44 of 48 people found the following review helpful
4.0 out of 5 stars There For You, October 23, 2004
K. H. Orton (New York, NY USA) - See all my reviews
I'm really not prone to entertaining myself with 2nd guessing what Elliott Smith's eventual intentions were for these songs. I'm also not interested in analyzing the production. What I can tell you is that BASEMENT has exceeded my expectations. Like all his best work, I'm finding it a real chore getting it out of my cd player.

"Coast To Coast" starts off with this distorted orchestra & then bursts into a wall of sound. Starting things off on an uncharacteristically, aggressive note. I think the heart of this album can best be summed up in what I find to be it's most addictive track, "King's Crossing". "This is the place where time reverses/and where dead men talk to all the pretty nurses". Or more simply, "cos' I took my own insides out". For a night on the town, presumably? Good one, Elliott.

There's not much for real fans to be upset about here. Let alone disgusted (as I've read in some other reviews). The aching fragility of "Twilight". The perverse jauntiness of "Memory Lane". "Let's Get Lost" is an aptly beautiful place to do so. & "Last Hour" sounds like it quietly tip-toed off one of his early albums.

BASEMENT is by no means perfect. No posthumous album is going to be. But to these ears, it doesn't excactly sound all dressed up for an open casket funeral. All I can say is, the end results are a lot darker & somewhat more diverse than FIGURE 8. I've been listening to this guy ever since ROMAN CANDLE came out. EITHER/OR is one of my favorite albums of the 90's. Those catchy Beatle-sque hooks. Lonesome fingerpicking. Scathing lyrical insights. That uncanny knack for stumbling upon a universal truth & then shrugging it off. I'm sure most fans can agree on where his real strengths lie. Well, inbetween all the gushing odes of blind devotion & self-righteous outcries of disappointment, it's here waiting for you. When you get around to it. Excuse me, gotta go hit the PLAY button again.
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16 of 16 people found the following review helpful
5.0 out of 5 stars Clementine and Adeline and Amity, too, October 20, 2004
Elliott Smith has long been my favorite musician. Like many Elliott fans, his music ushered me through a difficult time in my life. I've been anticipating this album for four years, and it's really odd to finally have it in my possession. 'Roman Candle' and 'Either/Or' are my two favorite albums of his, so I was a little dismayed when I heard early reviews that the new record was upbeat and a total departure from what he had previously recorded. I like the stripped down, raw nature of his first three albums. However, I was pleasantly surprised to find that, though this cd is unlike anything else he has done, it is beautiful and heartfelt and thoroughly Elliott Smith. The album shares some vague similarities with 'XO' and 'Figure 8', but it is definitely its own creation. Though I am normally drawn to the simplicity of his early work, the complexity of the songs on 'From a basement on the Hill' is what I find so intriguing and lovely. For the critics who have complained that Elliott's music all sounds so similar, this album will definitely provide a compelling defense. It is too early to tell where this album will rate on my list of Elliott's music, but it's safe to say it is well worth the wait. Thank you, Elliott.
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12 of 12 people found the following review helpful
5.0 out of 5 stars A Fond Farewell From One Of The Greatest Ever!!!, October 19, 2004
I remember going to see Good Will Hunting and hearing something I liked but never really looking into who it might be. Fast forward a couple of years to around 2000 when I was at my tattoo artists studio(Thanks Adam!!). He was playing something that sounded great and I asked who it was. He told me his name was Elliott Smith. Well as they say the rest is history. I picked up Either/Or, XO and Figure 8 and then eventually got his indie releases along with his earlier work with Heatmiser.
To say that Mr.Smith was a brilliant songwriter and musician would be an understatement. On every album there is something that touches a different emotion inside me as it does with many other fans and this last album is no different. From start to finish it shows just how much he still had left to offer. I'm glad to see that the powers that be saw fit to release this final chapter from someone who gave us music that would take most others ten lifetimes to create.
It's hard to give a song by song review because I love them all. Some that really stand out for me are pretty(ugly before), don't go down, strung out again, a fond farewell, memory lane, twilight, etc... I did prefer the 7" version of a distorted reality but that isn't that big of a deal in the big picture. Elliott you will always be remembered by those who love you as someone who brought beauty into the world by your music. You have touched more people then you could ever imagine.

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10 of 11 people found the following review helpful
5.0 out of 5 stars Quintessential, October 11, 2006
Originally envisioned as Elliott's interpretation of the Beatles' White Album, From A Basement On the Hill transformed into (what I believe to be) Elliott's defining work. An unfortunately unfinished symphony, it still manages to become a quintessential piece of music history.

For some time, Elliott dealt with the insecurities that accompany most musicians pouring themselves into their work: criticism, soaring popularity, Kurt Cobain syndrome - all were factors of Elliott's uncomfortable presence in the spotlight. Throughout his early career, he implicitly stated that his songs were not diary entries. As if to prove his point, his songs became increasingly more enigmatic, throughout XO and Figure 8.

Basement is Elliott's real inner workings. The album illustrates something new for Elliott, acceptance. He had begun to admit that his sensitivity to friends / relationships was something he would have to learn to deal with. This new narrative is illustrated in songs like A Passing Feeling, Let's Get Lost, and Twilight, songs filled with a sense of letting go - similar to Harrison's All Things Must Pass. Other songs range from criticism of the music industry and Elliott's roles therein ("King's Crossing" / "Strung Out Again") to social commentary ("A Distorted Reality is Now a Necessity to Be Free" "The Last Hour"). The former, as the last track on the album, punctuates the albums statement poignantly.

Like Roman Candle, I don't feel that Elliott had anyone audience in mind when he was creating the album, only a goal: to prove to himself that he could survive.

Throughout much of the recording process, Elliott was delving deeper and deeper into ways he could reach into his darkness. He would spend 3-5 days at a time recording each song from start to finish, without a break. It was his way of pushing pasts barriers, digging even deeper than he had ever gone. I believe he was motivated to do so because he believed it was the only way he could survive. For the year prior to the recording of this album, Elliott became increasingly depressive, drugged, medicated, and isolated. He came to the realization that he had to stop using drugs as a way of dealing with his past, and I believe this album was some of the motivation to heal. Although his abuse continued, and even worsened throughout the recording process, by the end of it - he was clean.

But aside from the amazing emotional depth, the album was technically inspired as well. Many of the tracks were recorded in the vein of Sgt. Pepper, rock's holy grail of avante garde production. Originally produced and mixed by Elliott and David McConnell, they had intentionally approached the album with an all at once historic and new age feel. Bouncing tracks down from 8 to 1, the sounds became fuller, thicker, more condensed. Elliott and David detuned guitars, ran vocals through amps to mics (ala Tomorrow Never Knows), resulting in what I would consider a sorely underappreciated sound. Elliott was determined to create something that hadn't been heard in decades, he wanted every sound to be unique to the album. He was so determined in fact, that he attempted to erase the masters on several occasions - in order to insure that no one could ever stray from the mixes he had birthed. Specifically to avoid any pitch correction via Pro Tools.

Although the album was eventually finished by long time collaborator Rob Schnapf (whose production Elliott had described as "too clean"), the album maintains a density that amazes the most hard to please ears. It is all at once warm, and desolate - fuller, richer.

In the end, the album still feels like a prelude to what was envisioned. The official release ended with just fifteen tracks, a far cry from Elliott's original count of 30. My hope is that somewhere down the road, the family and Interscope will agree to release Basement as it was intended, with the previously cut Stickman, True Love Is A Rose, From A Poison Well, Let's Turn the Record Over, Abused, Almost Over, Suicide Machine, and the other - as these songs only further elaborate the amazing story that is Basement.

Until then, we're left with what will unfortunately be remembered as an incredible artist's last album. I think it's important to mention that in the end, Basement did end up helping Elliott. By the time the album was near completion, he had been clean for some time. He was planning benefit concerts for Clean Needle, and intended for most of the profits from Basement to go towards the Elliott Smith Foundation, established to provide aid to abused children. I think Elliott's death will forever overshadow what a beautiful, honest, innovative, cathartic, and important album Basement truly is. But my hope is that it will only grow to be more appreciated...
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7 of 7 people found the following review helpful
5.0 out of 5 stars Elliott Smith makes his case for immortality, November 2, 2004
Elliott Smith has left an indelible mark on the music world with some of his finest work yet. From a Basement on a Hill, with every song...with every note, captures the very essence of what true art should be. He poured his broken heart and the longing of his soul into this masterpiece. I heard a man that was so racked with the torments of "fakeness" (as J.D. Salinger would put it) that he was inevitably overcome with cynicism and depression. This album is absolutely THE must buy album of the year and will undoubtedly go down as one of the best albums of the decade. Every track is a highlight, however, one in particular climbed this Everest of an album and sparkled above the rest. "King's Crossing" is perhaps the most heartfelt, truth bearing, haunting song I have ever heard im all my life. I couldn't help but put it on repeat and listen over and over and over again. If you are thinking about buying this album...I can guarantee that you will not be sorry. Elliott Smith has always come through in fine fashion giving such delights XO and Figure 8, but this album eclipses even the brilliance displayed in those fine works of musical genius. BUY THIS ALBUM NOW
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10 of 11 people found the following review helpful
5.0 out of 5 stars God who will fill this hole?, March 14, 2005
R. Ellingson "ric" (northwest by northwest, MT) - See all my reviews
Elliot Smith totally captured me from the moment I saw him on the Grammy's. Just guts & guitar in front of all the industry giants, singing his deceivingly simple song. Who will fill the hole that the passing of Elliot has left. Lyrically Conor Oberst maybe, musically, nobody. I had a chance to meet Elliot a few times when I worked as a photographer in Portland and am a guitarist and songwriter too. Elliot had personal demons in his head to be sure. It was great to see a smiling photo of him on FABOAH, I needed that. This CD is simply fantastic. It is deep. It is not necessarily depressing. Thats the trick 'to take a sad song and make it better' Elliot made it better. We need to make it better in our own heads. This CD sounds beautiful. If you liked any of Elliot's music before this I believe stands as his best. If you haven't bought any of Elliot's stuff this is the one because it covers all of his stages in a way. A very fitting farewell, if there is such a thing. Fly away Elliot, be happy for once.
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5 of 5 people found the following review helpful
5.0 out of 5 stars The closest he ever came to creating a masterpiece., October 22, 2004
Sean Walt (Wilmington, Ohio United States) - See all my reviews
I must admit that after the first three listens I walked away after hearing this album in digust over most of the production and in some cases, the song writing.

But as most great records do, time and repeated listens greatly change things. It was almost like night and day. After having the disk for four days and thinking how much it is not like Either/Or and how only Twilight seemed to be good, the forth time around depicted something almost entirely different.

When first listening to 'Coast to Coast,' I couldn't get past the incredibly long length and untimely rock action. Then, I suddenly found it to be quite a briliant opener, certainly grabing your attention.

This sort of revolation took place in almost all the songs. It seems as if Elliott's message was simply buried under the production and anyone who is capeable of digging to find, listening until it makes sense, will experience the great reward that lies in the majority of the songs.

Only 'Strung Out Again' seems worthless to me now. Other songs not quite as good are 'Ostrich & Chirping' which as someone said would work better as an into to a track, not a seperate one...somewhere else on the CD like at the beginning of 'Coast to Coast'; also Shooting Star seems a bit annoying not unlike select tracks from XO and Figure 8...simply too much emphasis on the lead guitar and too poppy of production. Also, the last two tracks are missing a little something. 14, 'Little One' is not unlike the Lennon songs at the tail end of Disk 1 on the White Album. 15, 'A Distorted Reality is Now a Neccesity to Be Free' would benifit from a better mix and production. The drums are mixed terribly low. I also think that track 10, 'A Passing Feeling' would be a better suited closer, ending the album on a happier note, just a thought. But then on secong thought, 'A Distorted Reality...' does contain some of the albums best imagery and ideas; so I don't know if i would like anywhere but at the end. "Shine on me baby, cause it's raining in my heart" works pretty well as final comments from Elliott Smith.

My favorite songs would be along the lines of King's Crossing, Twilight, Last Hour, and Memory Lane. King's Crossing specifically is the one that stands way out. So much disgust, so much nothingness. The line "I can't prepare for death any more than I already have" says it all, about the song, about the album, about Elliott in his last stages.

In general though, since this is Elliott's longest record, it is hard to complain about how much good material is present. Maybe it would be better if the production was slightly more minimalistic and less experimental but after repeated listens, the songs speak for themselves and the production only adds to them.

A Great CD, one of the ten best this year. This and the self-titled albums are personal favorites this last document being totally different from the rest of his catelog but still boosting a large number of great songs. This is highly recommended; just know it takes a few listens to actually make sense and reveal its charm and desperation. It is the same old Elliott, sad and depressing only this time there seems to be an absence of hope...A Fond Farewell to a friend indeed. He will be missed.
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6 of 6 people found the following review helpful
5.0 out of 5 stars ..Left me speechless, November 1, 2004
I've never felt compelled to write a review until i heard "from a basement on the hill". This is definite classic album and is a must get for anyone. Tragic but beautiful as always it is an amasing last album to remember Elliott by. If your thinking of buying it you will not be dissapointed.
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7 of 8 people found the following review helpful
5.0 out of 5 stars The Best Record Never Made, November 18, 2004
"felixlazron" (Ontario, Canada) - See all my reviews
4 years ago I accidentally downloaded an orchestral version of Elliott Smith' "Between the Bars" while looking for MP3's.
That was the best mistake I've ever made, because since then I've become completey immersed in the music of Elliott Smith. He was a troubled man with a wicked pop sense, and easily this album is the closest you'll get to a lost Beatles album written only by John Lennon.
A lot of the songs on "Basement" were performed live by Smith, months before his death. Those rough ideas develop into amazing muiscal paintings on this album. Particularily "King's Crossing", which made my jaw drop when the drums came in.
Essentially, had this album been completely finished by Smith, it would most certainly have been "The new White Album". Smith had originally intended the album to have a second disc of instrumental experiments. Well, experimental, not so much "Experiments" themselves.
This is easily the best album to come out this year, a year already blessed with gems (K-OS - Joyful Rebellion, Nas - Street's Disciple, The Zutons - Who Killed The Zutons, Phantom Planet - Phantom Planet) to name a few scorchers.
I highly reccomend this album, and all of his albums. Though, if you like it more stripped down, I'd reccomend his first 3 albums (up to "either/or"). I love "Figure 8" very much though, as it was the first Smith album I got.
R.I.P. - Elliott Smith
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