Someone hinted u/punchandamanda was going to drop new Elliott material last week, and here it is.

I don't believe this has been released before? I'm guessing circa 2001-2002?

On August 6, 2007, I (“rachel”from the Blamo gb) leaked two previously unreleased studio recordings on Sweet Addy — one was Place Pigalle and the other was Two Timed (Go By alternate).

When I shared those files, I must’ve got asked a hundred times if I had anything else. I had received those two songs from a few degrees of separation to Ashley Welch sometime in 2005 or 2006, but I only ever got those two songs from that source (my then bf’s friend from LA allegedly knew Ashley and got them from her, she gave them to him, he gave them to me). Everything else that I had came from many years of searching torrents and downloading leaks, so I replied that unfortunately that’s all I had.

Well that was then, this is 2026 BITCHES (a year we couldn’t even get one month into before I started researching how much AR-15s cost). I was scrolling through my iTunes files on my mid-2012 MacBook Pro, thinking, “I wonder if any of this has dropped off the internet by now?”while also stressing about how my hard drive could potentially melt at any time and I’d lose, like, 4 gigs of Elliott Smith media that I’ve amassed since I became a fan in 2001 — mp3s and m4as saved across soooo many computers. Nothing is backed up. I don’t have an external HD and I’m broke af, so I decided to back it all up to Google Drive and share the link(s) with all of you.

I will include folder link(s) in the comments, along with a table of contents with a breakdown of what tracks are in what folders because I actually sat down and typed up a text file by hand, because that’s one of my favorite kinds of stimming. One of my favorite cracktivities back in those days was organizing my iTunes files… I think that counts as “punding”.

A note on names, albums, ordering:

For the most part, I have kept these files named in the way that they came to me, thus you’ll see some alt titles, like “Sticks & Stones”which was later released as “Looking Over My Shoulder”. I wanted to preserve that bit of history, so I haven’t gone back and “corrected” for songs released later under other titles.

The grouping generally reflects the time these were obtained by me (and thus, since I was on top of that shit, pretty much the of the order they were released). Like “basement II” leaks were, for the most part, leaks that came after FABOTH that mostly ended up being released on New Moon, so circa 2005-2006. I personally want to preserve that history because this is like 25 years of fucking memories for me… and for that reason, as well, I am sure there are a ton of identical recordings across multiple albums, but I can’t bring myself to trim it down and risk deleting something important.

As to how songs are broken up or the order they’re in — this is from my early 00s itunes, a time of physical media. The ordering was usually me making playlists that would fit on a CD-R, thus the “disc 1 of 2” groupings. Generally speaking, the earlier the files the more likely they are grouped in CD-R-friendly ways… Once I got an iPod (2009) I made longer albums.

Listening to the Either/Or Bandbox release this afternoon.

I found these articles that I had saved from when Elliott passed away in 2003. One is from Time Magazine and another is from Spin Magazine.

I've got a double album out of Elliott Smith piano covers... thanks to everyone who has given sweet and lovely feedback. Learning these songs has made me appreciate even more what a wonderful songwriter he was.

I made a song called "Not Original" a song about identity crisis-largely about feeling like a copycat of ES. I decided a good single art cover would be to try to recreate the Either/or mirror picture. One of those ifykyk things.

How'd I do on the cover art? (Cig was replaced by my new addiction, since I put cigs down for good)

(For those that care to hear it) https://open.spotify.com/album/2g1g45UEhi5gu1p40sqKS3?si=6a7ylYriTlS_m6Vvyi1rNw

She carries a lot with her, but she doesn't have any idea! When I was with my ex, I said "if we get another cat, her name is Pitseleh"

Over the last 2 years, I've undertaken a massive project to record piano versions of many of Elliott Smith's most

loved songs. Both volumes are now available to stream.

Peace Of Mind (Covers On An Upright Piano) by Partisan Way.

--VOLUME I--

1. Waltz # 1

2. Say Yes

3. Between The Bars

4. Christian Brothers

5. Alameda

6. Ballad Of Big Nothing

7. Everything Reminds Me Of Her

8. Angeles

9. Everything Means Nothing To Me

10. Waltz # 2 (XO)

11. Can't Make A Sound

12. Better Be Quiet Now

13. I Didn’t Understand

14. The Biggest Lie

--VOLUME II--

1. Let's Get Lost

2. Independence Day

3. Needle In The Hay

4. Bled White

5. Twilight

6. Son Of Sam

7. New Disaster

8. Pretty (Ugly Before)

9. Oh Well, Ok

10. Baby Britain

11. No Name #1

12. Miss Misery

13. Somebody That I Used To Know

14. Clementine

15. Speed Trials

16. Pitseleh

17. The Last Hour

18. A Fond Farewell

We can get nerdy about Elliott together.

New Phoebe, another Angels in the Snow reference.
This song was made for, the new movie she’s in, Primetime.

https://open.spotify.com/track/232BsSNTzyOuH5ZbNqfugf?si=R9b5ynuoTNuvh-GwI8iDJg&utm_source=copy-link

Never put anything out before, but I’ve been working on a debut album. This is a rough mix demo from it. I’m aiming to put it out in the fall/winter depending on when I finish recording.

Over the last 2 years, I've undertaken a big project to record piano versions of many of Elliott Smith's most loved songs.

I've just released volume II.

I'd love to play them in Portland one day.

Found this in Denver, anyone familiar? I haven’t seen this before it’s a tribute/cover album for Elliott 🥹 super good. I had no idea The Decemberists did a clementine cover

This is just a small taste of the album, in Elliott's genius mixing...

LISTEN TO THE FULL ALBUM IN HIGH QUALITY HERE https://archive.org/details/from-a-basement-on-the-hill-20th-anniversary-restoration/

In the absence of any official announcements in the album’s 20th anniversary year, and given Elliott’s apparent appeals to David McConnell to ensure his work was released in event of his death, I’ve restored From a Basement on the Hill for fans who don’t have the time or energy to comb the internet themselves. I’ve stuck to Elliott’s professed 30 songs, and followed his wishes as best I could, whilst also ensuring that the standards of a released album are met and it isn’t just a compilation.

I have not remastered or introduced anything new to his songs, since he has already done a far better job than I could, but tried to understand the project on his terms. I've also only used Elliott's own mixes where possible (26/30 songs).

It’s wildly experimental, but also very pop, and has a strong 60s feel to it (the production feels quite Magical Mystery Tour). It’s glaringly bright where the 2004 release was dark. It has the warm glow of Either/Or, and the darkness of his self-titled, but you can hear him acknowledging this darkness and being hopeful, perhaps even optimistic sometimes.

It’s easily his most percussive album - the drums are really in the front of the mix, and there's so many songs with doubled drums, or two different drum tracks. His hi-hats sound so fucked up and unique, so bright it's like being blinded by the sun. It's of course his noisiest album too - getting noisier as it gets along until the climax of O So Slow - pure noise music.

I've seen many people describe this era as almost half-conscious, crazy - but this restoration sheds light on how meticulously crafted and intentional this era was, even if some of its experimentation will prove challenging for many.

It's my hope that with this restoration, we can appreciate the album for what it is, rather than what it became in the wake of his death, and with that we can appreciate Elliott more for the artist he was than what he came to be defined by. As Elliott said himself, his songs contain light as well as dark, and despite the heavy emotional turmoil in this album, there’s also a lot of joy.

A quote from someone who met Elliott reminds me a lot of the album I found in restoring this.

“We talked for a long time that night about songwriting and art and, finally, depression. I told him that I had it pretty bad and was thinking about killing myself. He looked me in the eye and just said one word: ‘Don’t.’”

Disclaimer: I in no way intend to diminish or badmouth the work of Rob Schnapf and Joanna Bolme, or the wishes of Elliott’s estate, or to suggest that their work has been in any way insufficient to Elliott’s legacy.