There was a time not too long ago when Eric Matthews was viewed as a savior. In the mid-’90s, Sub Pop Records was primarily known as the label that grunge built. But by the time that type of music began its slow descent, the label realized it had to branch out stylistically to remain relevant and financially viable.
Eric Matthews was as polar opposite as Sub Pop could get. His vastly orchestrated material was voiced with hints of fey romanticism, and the fact that Matthews was himself a handsome lad with a very distinctive style seemed to be a perfect signing for the label and the artist.
And for a while, it was. Matthews’ debut, It’s Heavy In Here, was both a critical and commercial success. It was a much-needed confidence builder for the label who then began to round out its late ’90s roster with a wider variety of artists. But by the time Eric gave the label his second platter, Sub Pop was financially overextended. And when 1997’s The Lateness Of The Hour failed to match the sales figures of its predecessor, Matthews was unceremoniously dropped.