Marc Miner’s Last Heroes earned my respect and love after a single listen. Miner’s obviously a fan of classic country, but anyone expecting a dyed-in-the-wool retro release will either be disappointed or relieved. The European-born German/American songwriter, based in Vienna, Austria, mixes other influences into his musical concoction such as rock and blues. He invariably returns, however, to country music as a kind of touchstone or jumping-off point. His songwriting, as well, places a high premium on lyrical excellence without ever belaboring pseudo-poetic flights of fancy. Everything is functional in Miner’s writing; nothing is ornamental.
Last Heroes begins with the relatively shocking “Sweet Revenge”. It’s apparent with this song alone that Miner’s intent on shaking listeners out of any complacency they may have while hearing this collection for the first time. This opener is a blood-soaked tale of, as the title says, revenge, but not until the song’s subjects gash open the modern world and leave scores of dead and wounded behind them. There are little things that distinguish this tune; the tolling bell at the song’s beginning sets an ominous tone and the wind-swept arrangement invokes a sense of movement and desperation matched only by the words.
“Nicki & Bob” is certainly one of the most memorable moments on Last Heroes. It’s a combination of traditional classic country married with a forceful electric guitar presence. The latter, however, never overwhelms listeners. Miner incorporates electric guitar at the right junctures, and it leaves a lasting impact on the performance.
His eye for significant detail and empathy for his characters are among the virtues setting his work apart from the pack. “Last Hero’s Gone” is another of Miner’s uncompromising stories about dead-end lives. Miner builds a sturdy musical arrangement around his lyrics. He tailors his voice to a very specific idea of the form but nevertheless shows tremendous moxie and interpretative skill. The emotion is real.
“Hero of Laredo” will be the best cut for many listeners. Miner’s writing traces the story of a street criminal’s rise through the ranks and picks back up the Tex-Mex feel of album opener “Sweet Revenge” in an even more pronounced way. His ability to tell a story burns hotter here than any other song on Last Heroes and he ties up every narrative string by the track’s conclusion. Miner finds the album’s best chorus with the song “Heavy Bones”. He structures this track around that climatic moment and even shapes the orchestration of those verses to help strengthen those high points. Miner’s production for the release deserves praise. “Heavy Bones” is an exceptional example of how Last Heroes’ production attributes enhance an already fine set of songs.
“Home Ain’t No Place for Me” swaggers with a bit of a smirk, but it’s whistling past the graveyard. All of the devil-may-care defiance, implied or otherwise, in the world cannot mitigate the near-existential loneliness at the song’s heart. It’s an interesting musical turn to take so late in the album, but wholly successful. Marc Miner’s Last Heroes is an invigorating listening experience and shows clear growth from his debut album Smile When You’re Wasted.
Jodi Marxbury