449:. "It was kind of ridiculous to carry it up to a certain point and then drop the ball or the bomb, like quitting the band right after we had signed to Virgin," recalled Smith. "I was the guy who made that gravy-train crash so to speak, and it was a gravy-train at the time. The breakup happened almost immediately after the contract was signed. I watched myself put my paw in the bear trap on that one because there was this clause about leaving members. In the event of the band dissolving, any members could be kept to that contract with or without their consent under the same terms. They didn't pick up Neil's option, only mine. It turned out to be a fucked-up situation because they said the reason they had signed Heatmiser was that they'd been hoping this would happen-or something to that effect. They said that right in front of Neil and I couldn't believe it."
629:, The Dandy Warhols. It was all local. It sold out every Monday, because nobody had a job, really—this was the early '90s and there was no work. The bands would get their cash and, more importantly, they would have the experience of playing in front of 1,000 people who knew their songs. What you ended up with is these bands that perform really well. Heatmiser were just a phenomenal, rip-your-head-off-and-shove-it-up-your-ass rock band. I saw them hundreds of times. Elliott was so into it; in every photo I took of them onstage from that time, he's biting his lip. The thing I remember most vividly is that he always had this exact same rocking motion in his body language. were writing really good songs, but I immediately recognized that Elliott was writing in a way that maybe... appealed to me more personally? When they did that
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singing voices and were really gifted guitar players. The drummer was excellent. There was not a slacker in
Heatmiser. Neil and Elliott had very different guitar skills that complemented each other beautifully. In fact, when I met them, I would say that Neil was the more accomplished of the two. But Elliott had a natural aptitude that was unique. He could hear music and make it come out of his fingers in a way that most guitar players can't. He never stumbled. It was like there was a channel that went straight from his brain to his fingers, and that was immediately evident watching him play live. You only see that kind of skill level once in a while, so when you see it, you know it.
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somebody. At least in the band it was, because everybody except for me was really into it. I, to a certain degree, was pretty invested in the band emotionally or whatever. It actually came down to me kicking out, even though everybody agreed to it. We met up to do it, but then started asking everyone personally if they wanted him out. Then it came to me and I said I wanted him out. That guy was just such an asshole. That guy I don’t really care that much about. I mean, he was an okay guy, and we were friends for a while, but he just kind of worked up everybody’s nerves. His sense of humour was such that he always had to be making fun of somebody. He was just not a good time.
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Heatmiser favorably: "I have a lot of fond memories of that time. Portland still has an extremely vibrant music scene, but there was a bit more of a united, focused community with the bands and the people that came to see music then. La Luna, along with a few other places, was the epicenter of that, the place where the large shows happened. We definitely packed our shows, and people were really into it."
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liked this kind of music, and that we didn't have to play this way. You didn't have to turn all these songs you wrote into these loud... things. It was kinda weird – people that came to our shows, a majority of them were people I couldn't relate to at all. Why aren't there more people like me coming to our shows? Well, it's because I'm not even playing the kind of music that I really like.
494:, that brought Smith and Lash together again. "We hung out a little bit when he was working on the first No. 2 record. I started to get a feeling like, 'Oh, you know, even if it wasn't Heatmiser...' It was fun to think about the possibility of maybe doing something with him. So it was hard when that door was closed."
255:. The two were prolific: besides Swimming Jesus, Gust and Smith had another pre-Heatmiser college band, featuring "a friend named Dylan and two others", and recorded "stupid and embarrassing" music on rented four-track recorders with "poetry on top", recited by a "Southern Californian stoner-photographer guy" friend.
350:, and on tour. Coomes has a modest view of his contributions to the album: "There's two levels of playing for me ," he added, laughing. "Decent and could be better." After Peterson's departure, the band "struggled to draw the same crowds they'd built in Portland. They played wherever they could, even a laundromat."
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The first time I saw
Heatmiser was in 1993, at X-Ray in Portland. I had this visceral response, which I've only had with a few bands. I was impressed by every single member. Elliott was clearly an uber-talented songwriter, Neil was clearly an almost-as-talented songwriter, and they both had terrific
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I was being a total actor, acting out a role I didn't even like. I couldn't come out and show where I was coming from. I was always disguised in this loud rock band. we all got together, everyone wanted to play in a band and it was fun, then after a couple of years we realized that none of us really
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and offered to record us at the studio he was putting together for himself in the Valley. We showed up, tracked the basics for two songs in one day, then Jim and John packed up and headed back to
Portland. I stayed for what I thought was going to be a couple days of overdubs. Instead, I was there
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Despite Smith's burgeoning solo career, there wasn't tension between him and Gust. "There was never any animosity between me and him about it, because it was art," Gust said. "It only became problematic with scheduling stuff, if the band needed to go on tour or something. He had to give up on doing
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Going on unemployment after losing a bakery side-job had given Smith more time to devote to recording, which also shifted his focus away from
Heatmiser and toward his own solo music endeavors. Gust recalled: "That was like the state giving a grant because for a year, he didn't work. All he did was
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With
Heatmiser in need of a bassist, a high school friend suggested Brandt Peterson to fill the position. Peterson had played in a few punk bands, but "was feeling ambivalent about another." Smith convinced him to join Heatmiser, at least until their February 14, 1992 live debut at Portland's X-Ray
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Heatmiser was labeled as a "homocore" or "queercore" band by the mainstream press, because of the themes espoused in the songs of the openly gay Gust. It was also speculated that Gust and Smith were lovers. Elliott Smith repeatedly denied this in interviews or that he was even gay. Smith also said
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Gust has "the fondest memories" of the band, and he has stated that " view of the legacy of
Heatmiser is those records. It was a great time in my life. It's been something that has paid off in my life over and over, far more than it ever paid at the time." Tony Lash also looks back on his time in
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A phenomenal thing happened in
Portland in the early '90s. At La Luna, someone had this idea to charge one dollar at the door to see three local bands every Monday night. The club capacity was maybe 1,000, and they got to keep the bar, but the bands could sell merchandise and they got 100% of the
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I’d been living with other singer and songwriter, Neil , for like years and years. Not as his boyfriend, but as his roommate. Not that it matters. I don’t care. That kind of thing I don’t think is anybody’s business. It never really occurred to me whether or not Neil was gay until he told me one
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Elliott Smith later dismissed the group's music as "loud", and his own singing on their first album as "an embarrassment". Smith also bemoaned that being in
Heatmiser changed the songs he was writing at the time into "loud rock songs with no dynamic." Heatmiser also frustrated the members of the
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s Marcus Kagler why he thought that was, Smith explained: "Oh, I was around 20 or 19, and a lot of straight guys were... you know, just having kinds of conversations that I couldn’t really relate to. You know, just like very high-school. You know, like not being able to relate to jocks in high
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Sam came in sort of towards the end, initially out of the kindness of his heart, because
Heatmiser had a different bass player who was so confrontational that we eventually kicked him out. Boy, that was an unpleasant thing to do. I mean, kicking someone out of a band is like breaking up with
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Every individual in the band had identities that were bound up with some sense of injuries, of not fitting in or whatever. I didn't really understand myself really well, I drank pretty heavily. And
Elliott was increasingly unhappy with the rock thing, and I think that I became emblematic of
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Somewhere in the middle of the set the band started goofing off; Gust pushed Smith down in the middle of a song. Later, Heatmiser tossed self-effacing cracks at the audience, perhaps to parody Smith's reputation for despondence. Between songs, bassist Coomes proclaimed, 'We've got
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exists and circulates unofficially among Heatmiser/Elliott Smith fans. This show took place as part of a wedding reception for a couple who were friends of the band. The recording features four unknown/unreleased Heatmiser songs, in addition to renditions of songs from
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Cafe. Over the next few years, Heatmiser was a regular act at local Portland venues like the X-Ray Cafe, screenprinting shop Hand Prints, and La Luna, whose cheap, packed Monday night concerts were a hub for the city's twenty-something underground social scene.
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record at his girlfriend's house. His process just went 'boom!' It was amazing to watch. It was also intimidating because I was working, we had the band and there things to deal with the band, but he just drifted into his own thing."
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for two weeks trying to finish one song. Elliott finished the mix long after I returned to Portland in order to keep my job, but I didn't hear it until after he died. This recording session was the last time I saw him.
279:. In high school, Lash and Smith played together in the school band—Lash played flute, Smith played clarinet—and Lash played drums in Smith's band Stranger Than Fiction. Lash and Smith had bonded over a mutual love of
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also "found the band dissolving. Smith had his solo career to tend. Gust spent time in the house alone, learning to work the studio; as engineer, Lash felt he'd become an 'obstacle' to Smith, who wanted to bring in
275:. In Portland, Gust and Smith formed Heatmiser with Smith's high school friend Tony Lash, who'd been working at a recording studio and playing drums in local band Nero's Rome. Early versions of Heatmiser included
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At the time, it was hard to sort through it all. It's the kind of things , maybe if these issues came up when people are in their 30s or 40s and have some better communication skills, wouldn't be so hard to
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day. It was very upsetting to him because he hadn’t told anyone. But it wasn’t upsetting to me. I had just never thought about it. By that point, just about all my friends that were men were gay." Asked by
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Neil Gust recalled that the last time that he saw Elliott Smith, in 2002, Smith said he wanted to make another Heatmiser record. The pair recorded just one new song together, "Who's Behind the Door?"
37:
218:-oriented songs of Elliott Smith were a contrast to the darker songs of Neil Gust, while both Smith's and Gust's songs touched on subjects such as anger, alienation, loneliness and despair.
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There's a song called "See You Later" on ... I remember hearing that song for the first time and telling Elliott, 'This song's going to buy you a house.' Houses were cheaper in those days.
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Later in his career, Smith believed that his blatant dismissal of the band in interviews for his solo albums hurt Neil Gust and led to discontent between them. The success of
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songs "Lowlife", "Bottle Rocket", "Buick", and "Dirt", along with two other songs, "Just a Little Prick" and "Mightier Than You", that are exclusive to this release.
214:) and Tony Lash (drums), they were known for their well-crafted lyrics and songs often featuring the juxtaposition of melancholic and cheery words and melodies. The
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school. Sort of like that. Tony was a guy that I met in high school. He played flute in the high-school band, which is where I learned how to play the drums.
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Gust recalled how "Who's Behind the Door?" came together in the studio and how that was the last session he shared with Smith before his passing in 2003:
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at Eric Hedford's house in 1985–86. He had a basement with drums, mics, a piano, and a mixer. He helped us set up, but he didn't play on any of it."
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After Heatmiser's breakup, Smith and Lash "didn't talk for a couple years," Lash said, but they reconnected in London in 1999, as Smith toured for
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door. So every Monday night the bands were pretty much guaranteed at least $ 300—which was huge in 1993—and the shows had Heatmiser, Crackerbash,
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580:, meant that Heatmiser "had to be this much more muscular, single-minded kind of band than we really felt any of us were interested in being."
513:. Lash currently keeps himself busy as a producer. He produced the first two albums by The Dandy Warhols and he helped with the production of
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543:"Who's Behind the Door?" was one of four new songs No. 2 played on what turned out to be our final tour. Elliott came to our show in L.A. at
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to shepherd the sessions. The buffer of the new producers helped bring the album together, but at some point in 1996, the band fell apart.
283:, and outside of their high school band class, they began to work out "insanely complicated songs" together, recording after school with
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Peterson left the band in August 1994 and was replaced by Sam Coomes, a friend of Smith's. Coomes played on Heatmiser's last album,
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EP, the song "Idler" might have been around when I started to go 'whoa, whoa, whoa.' That really quiet, haunting thing.
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Neil's stuff on that last record was really strong. relationship to each other was good for both of their songwriting.
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I hope that it doesn't sound dated. We loved it when it was done. We worked on it until we could say that we loved it.
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club, recalled Smith as "part charismatic rock star, part bar-band regular, oozing nonchalant confidence".
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drummer. Tony Lash recalled about recording with Hedford: "We recorded all the backing band tracks for
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EP, and several singles. He wrote at least two songs for Heatmiser: "Just a Little Prick", released on
243:, Neil Gust and Elliott Smith met and formed a band, Swimming Jesus. In addition to covers of songs by
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JJ Gonson, Heatmiser's manager (and later, Smith's girlfriend) recalled her impressions of Heatmiser:
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1443:"No. 2 Unearths Previously Unreleased Elliott Smith Collaboration 'Who's Behind the Door?' — Listen"
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762:(1992, self-released) – only available at shows and via mail order; features demo versions of the
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at the height of his post-Oscars fame, with Coomes in backing band. And Gust had a new project,
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caused tensions in the band, especially between Smith and Gust, and led to the band's break-up.
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Soundtrack (2014, Universal Music Enterprises) (song: "Christian Brothers" (Heatmiser Version))
668:.' I suppose I should have known that any band named after the claymation villain in the dated
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was released on a smaller Virgin sister label, Caroline, and slipped into the world quietly."
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206:(guitar and vocals), Neil Gust (guitar and vocals), Brandt Peterson (bass; later replaced by
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1076:"Shooting Star, The Elliott Smith Story Part 1: Bottle Rocket [The Heatmiser Years]"
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some things on his own to do it with the band and became less and less willing to do that."
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Pet Sounds Volume One: A Benefit for ALTER (Animal Liberation Through Education and Reform)
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Gonson spoke of the uniqueness of the 1990s Portland music scene in relation to Heatmiser:
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The band broke up in the fall of 1996, prior to the release of their third and last album,
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Following their graduation from Hampshire College in 1991, Gust and Smith returned to
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533:. Smith went on to a successful solo career before his death on October 21, 2003.
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Lash also recalled his memories of the band's tense relationship while recording
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Experience Music Project Presents Wild and Wooly: The Northwest Rock Collection
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article about a date on that tour, a December 1, 1996 show at San Francisco's
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was the opening act for Heatmiser on their final tour. Reporter Jeff Stark's
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Lash left Heatmiser in late 1996, prior to what would be their final tour.
1359:"The Decemberists' John Moen Interviewed (2009): Marching to His Own Drum"
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Regarding his friendships with Neil Gust and Tony Lash, Smith recalled:
1573:"Former Poison Idea Drummer Steve 'Thee Slayer Hippy' Hanford Has Died"
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EP that ultimately wasn't used; additionally, he did the cover art for
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Heatmiser publicity photo for Frontier Records. From left: Tony Lash,
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Gust went on to play in the band No. 2. Coomes carried on as half of
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872:(1994, Tim/Kerr Records) (Song: "Mightier Than You" (Live Version))
860:(1992, Jump Froggy Jump) (song: "Mightier Than You" (Demo Version))
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on guitar.' To which Smith jokingly announced, 'This one's called
1600:"Elliott Smith: The Portland Years, a Photo Show and Book Event"
1388:"Elliott Smith's Former Heatmiser Bandmates Give Rare Interview"
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that Gust's being gay was "not a big deal, anyone's business".
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Discussing the tension in the band, Peterson later recalled:
807:(1992) – A live recording of a November 21, 1992 show at the
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In 2013, photos taken by Gonson of Heatmiser appeared in the
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1614:"Heatmiser – Live 1992-11-21, Edgefield (November 21, 1992)"
1496:"Heatmiser - Mic City Sons Album Reviews, Songs & More"
1201:"Keep the Things You Forgot: An Elliott Smith Oral History"
945:(1998, Work Group) (song: "Rest My Head Against the Wall")
1643:"The 50 Best Indie Rock Albums of the Pacific Northwest."
1550:"Reading Between The Bars On Elliott Smith's 'Either/Or'"
1522:"Elliott Smith Made a Modern Masterpiece on 'Either/Or'"
858:
Puddle Stomp: The Portland Independent Music Compilation
251:, the pair performed original songs in clubs in nearby
974:. San Francisco, CA: Chronicle Books. pp. 59–60.
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In 1987, while both of them were attending classes at
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576:Gust stated that touring behind their first album,
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1167:"The Untold Story of Elliott Smith's Teenage Band"
914:(1997, College Music Journal) (song: "Get Lucky")
902:(1996, Rubber Records) (song: "Disappearing Ink")
908:(1996, Caroline Records) (song: "The Fix Is In")
794:"Everybody Has It" (1996, Cavity Search Records)
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926:(2000, Experience Music Project) (song: "Dirt")
920:(1999, Vital Cog Records) (song: "Junior Mint")
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1470:"Elliott Smith Biography, Songs, & Albums"
870:25 Years on the Edge: A Benefit for Outside In
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1140:"See You Later: Heatmiser Looks Back at Last"
912:CMJ New Music Monthly Volume 41: January 1997
878:(1994, College Music Journal) (song: "Flame")
866:(1993, College Music Journal) (song: "Still")
791:"Sleeping Pill" (1994, Cavity Search Records)
353:Smith discussed Coomes' entry into the band:
19:For the stop-motion animation character, see
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384:everything that was bad about that for him.
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592:Their musical style has been described as
302:Brandt Peterson played bass on the albums
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1328:"Ain't No Cure for the Summertime Rumors"
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896:(1995, Continuum Records) (song: "Stray")
894:Kamikaze: Music to Push You Over the Edge
805:Live 1992-11-21, Edgefield, Troutdale, OR
1548:Stavropoulos, Laura (25 February 2022).
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1031:Torment Saint: The Life of Elliott Smith
1028:Schultz, William Todd (1 October 2013).
890:(1994, Sony Music) (song: "Junior Mint")
882:American Pie: New Sounds from the U.S.A.
653:Heatmiser also had a less-serious side:
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567:band. In an interview, Smith recalled:
942:Zero Effect: Motion Picture Soundtrack
888:Sony Music Regional A&R, June 1994
884:(1994, Rubber Records) (song: "Still")
864:CMJ Presents Certain Damage! Volume 47
854:(song: "Bottle Rocket" (Live Version))
526:We Have the Facts and We're Voting Yes
1819:Musical groups disestablished in 1996
1814:American post-hardcore musical groups
1804:Indie rock musical groups from Oregon
1297:"Elliott Smith: Better Off Than Dead"
227:Pre-Heatmiser early years (1987–1990)
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1829:Musical groups from Portland, Oregon
1004:"Sweet Adeline | Biography – Page 5"
529:). Peterson teaches anthropology at
1441:Geslani, Michelle (14 April 2017).
1138:Greenwald, David (8 October 2015).
1824:Musical groups established in 1991
1199:Greene, Jayson (21 October 2013).
14:
1386:Gordon, Jeremy (9 October 2015).
1357:Reid, Graham (10 November 2009).
1334:. Willamette Week. Archived from
704:Elliott Smith: The Portland Years
336:Later years: line-up changes and
202:, in October 1991. Consisting of
46:, Brandt Peterson, and Neil Gust.
1789:1996 disestablishments in Oregon
1295:Kagler, Marcus (20 March 2003).
1256:Stark, Jeff (11 December 1996).
409:) was brought in to play drums.
1648:. Condé Nast. 6 September 2016.
1571:Alexander, Phil (22 May 2020).
900:The 1996 Rubber Records Sampler
1520:Hart, Ron (23 February 2017).
671:The Year Without a Santa Claus
392:, and their eventual breakup:
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1794:Cavity Search Records artists
1784:1991 establishments in Oregon
1165:Greene, Jayson (2023-03-02).
1809:Indie pop groups from Oregon
1414:"07faclty.vp – 07faclty.pdf"
674:would have a sense of humor.
517:'s first two studio albums (
1602:. Facebook. 3 October 2013.
1449:. Consequence Holdings, LLC
876:CMJ Certain Damage! Vol. 60
844:Various-artist compilations
452:The recording sessions for
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824:EP. This recording can be
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970:De Wilde, Autumn (2007).
531:Michigan State University
520:Something About Airplanes
293:Still Waters More or Less
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1332:Willamette Week - Timbre
774:(1994, Frontier Records)
737:(1994, Frontier Records)
906:How Low Can a Punk Get?
706:photo show and series.
259:Heatmiser early years:
1756:The Music of Heatmiser
760:The Music of Heatmiser
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322:The Music of Heatmiser
52:Background information
1641:Nelson, Sean, et al.
786:Cavity Search Records
1447:Consequence of Sound
1086:on 11 September 2015
809:McMenamins Edgefield
515:Death Cab for Cutie
1338:on 2 December 2007
1258:"Anti-Depressants"
1080:Alternative Nation
822:Music of Heatmiser
665:Fear and Trembling
648:Bottom of the Hill
16:American rock band
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1770:
1552:. uDiscover Music
1468:Donelson, Marcy.
1326:Martin, Richard.
981:978-0-8118-5799-4
950:Heaven Adores You
852:Live at the X-Ray
813:Troutdale, Oregon
660:Søren Kierkegaard
612:Performance style
317:Yellow No. 5
233:Hampshire College
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1082:. Archived from
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830:Internet Archive
747:Caroline Records
727:Frontier Records
602:alternative rock
407:The Decemberists
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273:Portland, Oregon
200:Portland, Oregon
198:band, formed in
194:was an American
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89:alternative rock
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1732:Cop and Speeder
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1704:Brandt Peterson
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1636:Further reading
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1762:Yellow No. 5
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1737:
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1682:
1645:
1622:. Retrieved
1620:. Zink Media
1617:
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1582:. Retrieved
1576:
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1446:
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1424:. Retrieved
1420:
1408:
1396:. Retrieved
1394:. Condé Nast
1391:
1366:. Retrieved
1362:
1352:
1340:. Retrieved
1336:the original
1331:
1306:. Retrieved
1300:
1267:. Retrieved
1261:
1239:Schultz 2013
1234:
1227:Schultz 2013
1222:
1210:. Retrieved
1204:
1174:. Retrieved
1170:
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1148:. Retrieved
1143:
1088:. Retrieved
1084:the original
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151:Past members
106:Years active
1421:reg.msu.edu
933:Soundtracks
710:Discography
463:Rob Schnapf
441:Disbandment
340:(1994–1996)
267:(1991–1993)
253:Northampton
245:Ringo Starr
1778:Categories
1694:Sam Coomes
1584:14 October
1556:14 October
1533:14 October
1505:14 October
1479:14 October
1176:2023-03-03
1144:OregonLive
1090:3 February
958:References
837:Appears on
826:downloaded
594:indie rock
461:producers
412:Regarding
405:(later of
208:Sam Coomes
172:Sam Coomes
79:Indie rock
21:Heat Miser
1701:Tony Lash
1698:Neil Gust
1683:Heatmiser
1646:Pitchfork
1392:Pitchfork
1363:Elsewhere
1263:SF Weekly
1206:Pitchfork
1171:Pitchfork
643:SF Weekly
598:indie pop
403:John Moen
287:, future
192:Heatmiser
182:John Moen
165:Tony Lash
162:Neil Gust
110:1991–1996
84:indie pop
30:Heatmiser
1725:Dead Air
1624:3 August
1578:Kerrang!
1527:Observer
1500:AllMusic
1474:AllMusic
1453:3 August
1398:2 August
1368:3 August
1342:3 August
1212:2 August
1150:2 August
820:and the
818:Dead Air
764:Dead Air
722:Dead Air
578:Dead Air
553:Artistry
511:Bugskull
397:process.
330:Dead Air
305:Dead Air
261:Dead Air
137:Caroline
127:Frontier
61:Portland
1618:Discogs
1426:26 June
1308:26 June
1269:26 June
1013:26 June
828:at the
779:Singles
745:(1996,
725:(1993,
237:Amherst
222:History
1047:26 May
1038:
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679:Legacy
604:, and
509:, and
314:, the
132:Virgin
115:Labels
72:Genres
67:, U.S.
65:Oregon
57:Origin
1417:(PDF)
627:Hazel
499:Quasi
492:No. 2
372:'
212:Quasi
1626:2018
1586:2022
1558:2022
1535:2022
1507:2022
1481:2022
1455:2018
1428:2013
1400:2018
1370:2018
1344:2018
1310:2013
1271:2013
1214:2018
1152:2018
1092:2016
1049:2020
1036:ISBN
1015:2013
976:ISBN
799:Live
689:and
623:Pond
523:and
465:and
459:Beck
308:and
281:Rush
263:and
247:and
196:rock
1749:EPs
811:in
754:EPs
235:in
216:pop
1780::
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23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
