I admit this will neither be an official review of Elliott Smith's latest album nor will it be a critical one, for a whole book could be written about my generation's saga (punks who were still too young for even Nirvana) listening to the acoustic, disenfranchised voice of a singer whose entire narrative could be traced back to the doubling passion of John Lennon's "Julia".

New Moon (Kill Rock Stars), a two-cd collection of b-sides and alternative takes mostly from the Either/Or days, arrives at a good time. The initial shock of his freakish suicide during the creation of From a Basement On A Hill has since paved way for a mythology of music biographers to chew on after they finish yet another Jeff Buckley book, yet the respect for his music alone on New Moon seems to be more grateful for the recordings than the martyrdom of the industry itself. The songs are sparse, often pretty and often dark, strumming through the Portland streets with the fleeting tales of love, substance abuse and the intimate reawakening at his side. Through the cracks of his voice one can tell his bittersweet battle with both identifying and avoiding another song like "Miss Misery", which earned him an Oscar nomination for the Good Will Hunting soundtrack and a new-found fascination with college campuses world wide. Tracks like "High Times" show Smith in a husky rage (at himself) while the soothing melody of "Thirteen" moves almost like a harp serenade for back porch nomads.

Elliott Smith's ability to sound similar to every coffee-house folk singer yet remarkably unique by his subversive lyrics and use of familiar images is a historical chapter in the indie scene. There have been many who've resembled him before, as there will be many after, by like every new moon the promise of its return is what leaves us with its lasting impression. I believe the word is beauty.

Buy New Moon on Cd or Vinyl at all Turn It Up locations!

-cwa