(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Dead Air , 6/10
Cop And Speeder , 5/10
Mic City Sons , 5/10

(Translated from the Italian by Michael Newman)

The influence of Seattle's grunge (especially that of Nirvana), was also evident in Heatmiser of Portland (Oregon), the group featuring songwriters Elliott Smith and Neil Gust (with Sam Coomes of Donner Party on bass).

The songs of Dead Air (Frontier, 1993) are competent representatives of a post-Fugazi punkmetal, but too general to be remembered amidst the mass of grunge. The album is only raised from mediocrity in Still, Dirt (vaguely Spin Doctors) and the title track (more melodic). Much more catchy is the EP Yellow Number 5 (Frontier, 1994), with the bubbly powerpop of Wake and the decadent boogie of Lou Reed on Fortune 500.

Continuing the progression, Cop And Speeder (Frontier, 1994) offers the punkpop Flame! and the ballad Something To Lose, but they cannot redeem an otherwise lame sound.

Elliott Smith, meanwhile, launched a much more successful solo career.

L'influenza del grunge di Seattle (in particolare quella dei Nirvana) si avverti` anche sugli Heatmiser di Portland (Oregon), il gruppo dei cantautori Elliott Smith e Neil Gust (con Sam Coomes dei Donner Party al basso).

Quelli di Dead Air (Frontier, 1993) sono competenti esponenti di un punkmetal post-Fugazi, ma troppo generici per essere ricordati nella massa del grunge. L'album si solleva dalla mediocrita` soltanto in Still, Dirt (vagamente Spin Doctors) e nella titletrack (la piu' melodica). Molto piu' orecchiabile e` l'EP Yellow Number 5 (Frontier, 1994), con il frizzante powerpop di Wake e il boogie decadente alla Lou Reed di Fortune 500.

Continuando quella progressione, Cop And Speeder (Frontier, 1994) perverra' al punkpop di Flame e alla ballad Something To Lose, ma non riscattera' di molto quel sound zoppicante.

Elliott Smith intanto ha lanciato una carriera solista di ben maggiore successo.

Heatmiser continued independently of Elliott Smith's successful solo career with Mic City Sons (Caroline, 1996), a collection of bitter stories that do not reveal anything new but keep improving the focus of the band (Plain Clothes Man, Get Lucky). A powerful, anthemic Eagle Eye is the exception, and the standout.

Neil Gust formed No 2 that released No Memory (Chainsaw, 2000) and What Does Good Luck Bring (In Music We Trust, 2002), the natural evolution of Heatmiser.

Sam Coomes went on to form Quasi.

(Translation by/ Tradotto da xxx)

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