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L.A. electro-pop duo Ultra Violent Rays draws comparisons to darkly sensual and moody acts like Portishead. The band describes their sound as “the hypothetical sonic lovechild of Siouxsie Sioux, Phantogram and the movie Blade Runner.” 

San Diego indie rockers The Donkeys are tie-dying their T-shirts. “It just seemed like a good idea,” band member Timothy DeNardo tells EW. DeNardo says there’s a hippie vibe to their upcoming West Coast tour, which stops in Eugene for a free show June 19 in the Hi-Fi Music Hall lounge. 

Long before Mad Men there was How To Succeed In Business Without Really Trying, the 1961 musical that satirized American corporate culture via humor rather than pathos. Frank Loesser and Abe Burrows’ Pulitzer- and Tony-winning spoof chronicles the classic rags-to-riches story of a window washer who rises to the executive suite, providing plentiful opportunity for skewering the toadying, manipulative, deceptive behavior demanded by the system of ambitious greasy pole-climbers. 

Olympia-based, Southern California-born musician Elizabeth le Fey (aka Globelamp) loves The Beatles. “They have a lot of different parts in the music, like ‘A Day in the Life,’” le Fey tells EW. “I love that about The Beatles. It’s like you’re on a roller coaster.” 

Lauded purveyors of fierce and rebellious street punk, London’s U.K. Subs have released 24 albums and toured extensively over the past 40 years, showing no signs of slowing down, let alone stopping.

Kevin Seconds, founding member of veteran punk-rock band 7 Seconds, says punk needs young people. “I always did say punk and hardcore is driven by the youth,” Seconds tells EW. “Whether or not I agree with what they’re doing with it ­— a lot of times I don’t — it’s in their hands.” 

Hailing from Chico, California, Cold Blue Mountain combines the simple, riff-driven approach of moderately paced doom, the frenetic energy of hardcore and the melodic elements of ’90s alternative rock to craft a highly accessible, unique brand of metal all its own. 

Born Jo-Vaughn Scott to parents from the Caribbean, Joey Bada$$ cofounded hip-hop collective Pro Era in 2010. He was just 15 years old.  

California’s Dr. Know are no strangers to change. The early years of these godfathers of “nardcore” were filled with fights, going through no less than eight vocalists and some inarguably excellent punk rock. Their 1983 compilations We Got Power, Party Or Go Home and It Came From Slimy Valley are championed as classics, but also showcase a band riddled by constant change. 

Purists may shudder, but musical miscegenation has always been the rule. “Enjoy hybrid music, because that’s all there is,” Oregon-born composer Lou Harrison often said. Regarded as the godfather of what became the world music movement, Harrison typically expressed this sentiment before demonstrating how just about every form of music emerges from encounters with the sounds of other cultures and times. 

Mischief Brew still makes music for the same reasons they did in high school. According to lead singer Erik Petersen, his guitar and the road are as addictive as a bad habit.

The Northwest metal scene is rife with stoner, doom and black metal stereotypes thick enough to choke out the sun. Still there are a precious few acts that transcend, escaping the mire to unfurl like wildflowers springing from the thorniest of thickets. Amongst these are local favorites Agalloch and Yob, in many ways kindred spirits, though vastly dissimilar in sound.

Had Yelawolf never elevated his game beyond the flush of his furious 2010 mixtape Trunk Muzik, which contained at least one bona-fide masterpiece in “Pop the Trunk,” he’d yet remain a significant footnote in the history of modern hip hop — an Alabama-born rapper of manic intensity and talent who gnawed his initials into the rusty proud husk of Southern culture on the skids of the 21st century.

It’s a troubling contradiction that today’s music business — ostensibly an industry of songs — could make a quality songwriter like Ron Sexsmith feel antiquated and out of place. 

Originally from Wainfleet, Ontario, neo-folk quintet Great Lake Swimmers play music as idyllic as their scenic rural hometown. Frontman Tony Dekker’s light, sweet voice and melody-driven songwriting is partnered with familiar bluegrass backing instruments: acoustic guitar, banjo, upright bass and violin.

It’s fitting for a band obsessed with Anne Frank to be reclusive. After a 12-year vanishing act, Neutral Milk Hotel is touring again. The group has entered a gilded age, and rightly so. 

Austin singer-songwriter Alejandro Rose-Garcia, better known as Shakey Graves, wants to scratch all of your respective itches. Drawing from myriad sounds that prove difficult to solidly place a finger on, he dwells in a dusty sonic landscape somewhere between Two Gallants and M. Ward.

The May 26 show at WOW Hall is a bit of a rare bird as far as Eugene goes: The lineup features two badass acts, both women. Over the phone, I mention to singer-songwriter Jenny Lewis how unusual this is, to have a show here with nary a beard gracing the stage.

The meteoric rise of Glass Animals was unexpected, especially for frontman Dave Bayley. In fact, the success of the indie-electro rock band feels much like a dream.

Some of the most vibrant young voices in jazz and show music belong to women, and three of the most intriguing rising vocalists are coming to town in the next couple weeks. 

The Eagles are one of the most commercially successful bands in U.S. history, penning such classic rock staples as “Hotel California” and “Take It Easy.” 

Fresh-faced musician and visual artist Elspeth Summers plays psychedelic folk, modern Americana and country music. Her voice is feisty and youthful while also conveying a road-hard-and-put-away-wet wisdom and weariness. 

To the casual observer it might appear that, in 2015, every metal band in the known world is a doom metal band. To be fair, fans of the genre might share a similar impression. Doom is undergoing something of a revival, finally becoming as huge now as the Black Sabbaths and Saint Vituses (Vitae?) that spawned it. 

Dev first burst onto the scene with 2010’s “Bass Down Low,” followed by club favorite “In The Dark.” Both met with moderate success. It wasn’t until Far East Movement’s “Like A G6” turned a verse from her single “Booty Bounce” into its infamous chorus that Dev really started to get some attention.