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     Miss Autopsy slowly evolved from bedroom recordings by singer/guitarist Steve Beyerink, and in 2003 he began releasing albums and performing sporadic live shows. Lineups have come and gone since then, but Beyerink, who is originally from a tiny farming town in Iowa and now makes his home in Chicago, remains the only constant. The music is an oddly cohesive combination of dark post-punk and a near-blues/folk version of minimalist pop, and the characters in many of his songs have deep romantic, social, and psychological problems.

Discography:
Ruhr (2003, Self-Released)
Sweet Killers (2005, Comatone Recordings)
The Hill (2008, Lens Records)
Caterpillar (2009, Lens Records)

Selected Reviews:

"When Beyerink gets it right the results are often gripping, immediate, and incendiary in a way that few other performers can approach (perhaps because there is no superfluous artifice or polish). The breathlessly sociopathic “Dead Loner Blues” and the nakedly cathartic crescendo of “Caterpillar” stand out as especially stunning in an already impressive batch of songs. The true centerpiece, however, is “The Wildlife Refuge.” Nobody else could turn a spoken recollection of a nocturnal trip into one of the most mesmerizing and haunting pieces of music that I've heard in a while (“Instantly, in comes a stench. It smelled like crystal meth and murder.”). I’m sure I will probably read about this guy committing a spectacular suicide on stage some day, but until then I will be enthusiastically awaiting each new dispatch from his irrevocably twisted head. Inconsistency and occasional conspicuous missteps are necessary consequences when you’re chasing brilliance with no filter or artistic detachment." Brainwashed review of Caterpillar.

"The smoldering sense of loss and confusion is exhilarating as it is harrowing. Jagged guitar and barely there percussion heighten the sense of urgency. These songs are about a man who is still wrestling, and losing. 8 out of 10." Foxy Digitalis review of The Hill.

"So you might not want to hit repeat on "The Hill" too many times- take too much of this in and you'll wind up walking the streets forever wondering why nothing ever looks quite right- but an occasional eerie dip in will keep you on your toes and swiftly reassure that there is some pure emotion remaining in indie rock. Remarkable." New-noise.net review of The Hill.

"The lyrics never become too grotesque or violent, which in a way makes this more unnerving and disturbing as you read in your own sickened leanings and meanings into them. An effective grim and weeping sore of a rock/pop album that's heavy with bad feeling, murderous plans, and general dislike of human kind. Highly conducive when in the right frame of mind, just don't play it when you're feeling too low or suicidal it may just knock you over the edge." Musique Machine review of The Hill.

"The album whipsaws from loud and nasty to frighteningly introspective at the drop of a ten-gallon hat. Surprisingly, it manages to hold together just fine. Thoroughly enjoyable." Aiding and Abetting review of Sweet Killers.

"Beyerink is weird, there's no denying it. And so is this music. You won't reach for it more than a couple times, but it's an achievement nonetheless." Lazy-i review of Ruhr.