Elliott Smith

When Elliott Smith's self-titled second album came out in 1995, it was ignored by the press but championed by artists from the Beastie Boys to Fugazi. To commemorate the twenty-fifth anniversary of Elliott Smith, the Kill Rock Stars label is releasing a special deluxe package, which includes a new remastering of the original record; a coffee table book of previously unseen photographs by JJ Gonson with handwritten lyrics, and reminiscences from Smith’s friends and colleagues; and a bonus disc documenting the earliest known recording of Smith performing as a solo act. The set is a revelatory look at an under-appreciated work by an artist whose influence continues to expand seventeen years after his death.

In retrospect, the third and final full-length by defunct Portland, Oregon, band Heatmiser, 1996's Mic City Sons, is not just the sound of a band pulled in two directions and on the verge of breakup, it's a blueprint for the late-'90s Northwest "emo-core" sound. This pop-punk act always showed a love for refined-sugar-sweet pop music and Big Star-derived melodies, but it really comes to the fore here–both on renowned singer/songwriter Elliott Smith's songs and those of Neil Gust. (Sam Coomes of Quasi plays bass and sings on the record, as well.) This is a schizophrenic album. Songs veer from peppy anthems to total-downer white-guy angst; luckily, both are pulled off with finesse and real emotional investment. Fans of folkie Smith working backwards through his catalog will be surprised to hear Smith rock out so hard on tunes such as "Get Lucky"; other songs have since become staples of his solo sets. Mic City is among Smith's best records and functions as a swell swan song for this under-appreciated group.