Since 2006, Jeremy Messersmith has spent a lot of time writing, recording, and performing tales of heartbreak around the Twin Cities. A lot has changed since he released his sparse, home-recorded debut — namely a recent signing to record-powerhouse Glassnote — but Messersmith’s knack for penning and performing splendid songs has held steady throughout his undervalued career.
The Alcatraz Kid, Messersmith’s first full-length, was an album all about transition. Compared to his current output, Messersmith’s basement recordings sound pretty amateur. But lullabies like “Beautiful Children” and up-tempo numbers like “Novocain” show that his songs have always tugged at our hearts’ sleeves with ease, regardless of their recording quality.
For his second record, Messersmith moved into a real studio. Instrumentally, the switch is evident: The Silver City contains choir-like vocals, real drums, string parts, and even a horn section. Its atmosphere, especially on tracks like “Dead End Job,” is reminiscent of Illinois-era Sufjan Stevens, largely in part to its Midwest subject matter and Messersmith’s delicate vocals.
2010 marked the release of Messersmith’s most accomplished album yet, the incredibly spirit-filled Reluctant Graveyard. Messersmith wrote the entire record from the perspective of the dead, and he kills it on lullabies like “Repo Man” as well as Elliot Smith-esque tracks like “Organ Donor.”
Last week, Messersmith released Heart Murmurs, his first for Glassnote Records. First single “Tourniquet” flaunts Messersmith’s newfound ability to write a big chorus, but at its core it’s the same well-constructed love song he has been writing for years.
Jeremy Messersmith will be bringing his poppy, timeless tales of love to the High Noon Saloon tomorrow evening. Be sure to snag your ticket soon, so you don’t miss out on a night that’s sure to warm your heart.