Photograph: Murdo Macleod/The Guardian 94 Peaches The Teaches of Peaches (2000) XCX stopped waiting around for mainstream acceptance and showed the normies what they were missing with this bracingly eclectic, guest-laden mixtape. 96 Missy Elliott Miss E … So Addictive (2001)ĭrawing from house, psychedelia and even Bollywood soundtracks, Missy’s third – the one responsible for Get Ur Freak On – forced pop to catch up with her yet again. Trip-hop duo Moloko was dead, and Murphy teamed up with Matthew Herbert for this eclectic, saucy – and still underrated – pop record that anticipated the arrival of Lady Gaga by three years. The Malian guitarist set a new career benchmark with this intimate set, adding classical western harp and African ngoni to her subtle, bluesy electric guitar. The first album album from an artist whose records had previously propped up killer singles with passable fillers turned her disaffection and disappointment into generational anthems. It might be good or it might be bad, but I’m gonna show what it’s like to be a person.Seven years after her previous album, Apple’s return sidelined her orchestral trademarks for an austere, homespun sound that exposed her insular lyrics even more starkly. As the singer, thoughtful and well spoken, explained of his craft, “You gotta get out there and show what it’s like to be a person, that’s what I’m gonna do. The Smith in “Torment Saint” embodies an archetype: depressed artist filled with demons and dedicated to documenting and (hopefully) exorcising them through music.
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Smith is most widely known for the use of his somber, melodic music to soundtrack Gus Van Sant’s “Good Will Hunting” and a white-suited performance during the 1998 Academy Awards of the song “Miss Misery.” Since his death, his legacy, already sprouting while he was alive, has grown.Įlliott Smith: A review of the book “Torment Saint: The Life of Elliott Smith” in the Arts & Books section elsewhere in this edition says that singer-songwriter Smith died 10 years ago this November. According to William Todd Schultz’s “Torment Saint: The Life of Elliott Smith,” a clear-eyed and devastating new biography of the gifted and troubled artist, his death, likely a suicide, was inevitable. Ten years ago this November singer-songwriter Elliott Smith, then 34, died in an Echo Park bungalow from two knife stabs to the chest.
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