Building on research that associates chromatic-mediant motion with Freud's Uncanny, this paper utilizes converging methods to examine text painting in Elliott Smith's XO. Like previous studies, one method provides a close comparison between Smith's lyrics and moments with chromatic-mediant harmonic motion. The other method -- following Sears and Forrest (2021) -- compares root motion in Smith's XO to conventional and characteristic ordered triadic chord pairings (bigrams) in the combined McGill Billboard and Rolling Stone-200 corpora. This paper demonstrates quantitatively that Smith's lyrics and harmonies integrate a greater degree of uncanniness than the standard pop repertoire, highlighting the need for post-millennial popular music corpus studies.