Chicago-based Sidewalk Chalk is a hive of ingenuity and aspiration. From keys, drums, horns and bass to an emcee, powerful female vocals and a tap dancer, this eight-member crew thrums with talent. Despite the layers and complexities, the members of Chalk share a common passion — to transcend the norm, the expected, the known — resulting in a fluid sound that is equal parts jazz, soul, hip hop and funk.
As a long-time Eugenean, I grow weary of Eugene jokes. On balance we’re bigger, hipper and more happening that our patchouli and tie-dye reputation. But since there’s often some truth in stereotypes, every so often I hear a tall-tale of the EUG and can’t help but think: “Only in Eugene.”
Standing apart in a genre as progressively popular as psych-rock isn’t an easy feat. With more and more artist elbowing their way into the mix, local band Snow White is angling to stand out among the crowd.
All the customary traits are there: a dream-like, experimental sound paired with passionate melodies. Not so customary is Lauren Hay. With hair glimmering every shade of blue and deep mauve lips, Hay reaches into your soul with her haunting yet tender voice.
If time is just a sequence of moments — a metered arrangement of flashes and blips set upon a far-flung scale — are there really such things as minutes and hours? Does history groove to a cosmic cabasa? Are rules of rhythm inherent within us or forged across ages of concrete occurrence?
The members ofMudhoney will forever be classified as the Godfathers of Grunge, and for good reason. Their debut — 1989’s aptly named Superfuzz Bigmuff — set the grunge-rock template, stirring punk-rock sneer with metal riffs and drenching it all in distortion.
The Pacific Northwest has left its mark on Wayne Horvitz’s music. Like his colleague, guitarist Bill Frisell, the jazz pianist and composer’s move from New York’s 1980s downtown music scene to Seattle sparked music of considerably broader appeal than the more avant-garde styles he was known for on the East Coast.
It’s Brooklyn rap at its finest, sprinkled with philosophical musing and psychedelic influence. Often mentioned with Joey Bada$$ and Flatbush Zombies, The Underachievers are at the forefront of new-wave rap from the other side of the country — known as the “Beast Coast” movement.
At this point, do we really need to talk about Neil Young’s music? The musician, author and all-around pain-in-the-establishment’s-ass has a back catalog that qualifies his craggy mug to be carved into the Mount Rushmore of American music.
On Oct. 4, newcomers to the electronic world domination, Purity Ring, will take over McDonald Theatre. The Canadian duo, made up of Megan James and Corin Roddick, has been on a steady incline since their 2012 record deal.
Talking to Adam Duritz on the phone is like watching nostalgia incarnate walk through the door. The idiosyncratic voice of the Counting Crows frontman is still as raspy and boyish as ever, a key to his charm. That voice helped define a post-Nirvana ’90s.
It’s likely that the moment little William “Boz” Scaggs met a new friend, Steve Miller, at their highfalutin Dallas boys’ preparatory school, neither knew that a page was turning in American rock history.
The Eugene Symphony kicks off its 50th season 8 pm Thursday, Sept. 24, in style with a 20th-century American classic and a brand-new 21st-century composition by the West Coast composer who many hope represents part of the future of American music.
California-based progressive bluegrass group Front Country has a new connection to Eugene. “Our fiddle player [Leif Karlstrom] just moved up here,” guitarist Jacob Groopman tells EW. “I always like coming to Eugene. It’s a nice town.”
Mad Decent Block Party, the traveling circus of dirty bass selling out shows nationwide and making Rolling Stone’s list (again) of “Summer’s 50 Must-See Music Festivals,” returns to Cuthbert Sept. 12 to ensure you end your summer with a bass drop.
Sister Sparrow and The Dirty Birds are a seven-piece “hard-soul” band based out of New York. Sister Sparrow vocalist Arleigh Kincheloe calls her band’s sound “high energy — very much meant to make you get up and dance and have a good time.”
Once upon a time, they made movies out of musicals. From the 1940s through the ’70s, once a show had proved its worth on Broadway, Hollywood came calling. In the past generation or so, however, as the big-budget blockbuster mentality infested theater, the process reversed.
More than four decades into her career, Marcia Ball is a living blues legend as well as a popular fixture on blues-hungry Eugene stages. But last year, Ball missed her chance to promote her latest release, The Tattooed Lady and The Alligator Man, in our valley.
I reach Ryan Kattner, better known as Man Man’s lead howler Honus Honus, at his home in L.A. Kattner is working out some new songs for the experimental rock band’s upcoming tour, a process he’s none too thrilled about.
Bands come and go, whether it be the dramatic fallout of One Direction or the breakup and subsequent makeup of No Doubt. But there’s one band we can count on to stay with us through it all, (with tough love) guiding generations through horrifying high school years with “High School Never Ends,” a rollercoaster relationship with “The Bitch Song” or a crappy day with “Shut Up and Smile.”