A rough but delightful compilation
The story of Heatmiser is rather interesting. The band comprising of Neil Gust, Tony Lash, Brandt Peterson (who would later be replaced by Sam Coomes) and Elliott Smith formed in Portland, Oregon in 1991. Known for well-written lyrics and contrast of sound between Gust and Smith, the band would go on to have three full-length albums (including the cult classic Mic City Sons) before breaking up in 1996. The Music of Heatmiser is an attempt to document the band’s early history and understand what makes them the beloved cult classic they are today. The release itself is a thirty-song compilation that incorporates the original EP release in 1992, a collection of demos, live takes and unreleased songs in the band’s catalogue that can be broken up into four parts. Each part represents a different aspect of the band during the early stages of their career and in some of the tracks a foreshadow of what’s to come.
The first segment (tracks 1 to 9) contains songs from the original 1992 cassette release along with singles from their original label Cavity Search. Much like the original release, these tracks show a fresh new band, that just arrived on the scene and ready to make their mark. That said, most of the tracks here are pretty derivative. The band having not found their sound, wearing their influences on their sleeve. One can hear traces of Husker Du, Fugazi and Nation of Ulysses in the mix which sound bracing but uninspired. Some highlights that should be noted are tracks seven through nine (the Cavity Search singles) that offer an interesting diversion from the original cassette release, as they demonstrate Smith and Gust’s talents for songwriting and provide a presage for the sound of their main LP’s.
The second segment (tracks 10 -15) are select demo sessions from their then upcoming debut album Dead Air. Here some of the tracks from the EP Cassette release are given a partial facelift. The demo sessions for these tracks shows band gradually moving away from relying on their influences while still drawing from the best parts of their sound. The demo versions of “Still” and “Mock Up” are definitely the highlights of this segment, featuring Smith’s melodic vocals and Gust’s rough guitar work; these two songs underwent minimal changes when finalizing them for their debut album.
The third segment (tracks 16 – 22) are a collection of unreleased songs from the bands discography. Here the trademark Heatmiser sound is fully displayed, as the songs themselves merge the entirety of the band and their talents. Whether its Brandt’s bassline in “Meatline,” Gust’s rhythm driven guitar work on “Bloody Knuckles” or Lash’s tight drumming on “Glamourine.” The best track on this segment as well as the whole album has to be their cover of The Beatles “Revolution.” While a rough take on a classic song, this has the band coming together, with the some of the tightest instrumentation and the best vocal delivery of Smith yet.
Lastly, the fourth segment (tracks 23 – 29) are live versions of their songs, performed at Portland’s community radio station KBOO. This serves as more of documentation of the band’s live prowess. While the songs are guilty of being derivative and rough, they also show the band at their most innocent and arguably their most eager point in their lives.
Looking back on the band’s career, The Music of Heatmiser might sound derivative to some. Especially in comparison to the band’s (and more so Smith’s) later work, it is nonetheless a wonderful and charming snapshot of the sound that captivated Portland in the early ’90s. This album conveys the raw energy and angst that makes Heatmiser so promising. To those who are just discovering the band, the album is essential to understanding what makes Heatmiser so compelling and for those who are long time listeners this will reaffirm why Heatmiser is the cult classic band they are today.
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