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“I like to paint a picture of a modern woman who’s sexual and who can do the same things as a man,” Sallie Ford tells me over the phone. Sift through her lyrics, her throaty rock vocals or the imagery in her band’s music videos, and it becomes clear that Sallie Ford & The Sound Outside is not just paying lip service.

Of all the white-hot techno DJs and producers, few are more molten right now than Anton Zaslavski, better known as Zedd. Zedd’s single “Clarity” (featuring London-based female vocalist Foxes) is arguably the “it” single of 2013: a big, weepy ballad mixed with epic, fist-pumping, club-thumping beats. 

Music news & notes from down in the Willamette valley.

Love ‘em or hate ‘em, you have certainly heard the Cherry Poppin’ Daddies’ popular Zoot Suit Riot album enough to have an opinion about the band. But stardom — and the backlash that came with it — was never something they expected to achieve when they formed in the late ’80s.

Austin, Texas, folk artist Matt the Electrician sports a mighty fine full beard. A possible allegory for his style of music, his beard is inviting and warm while his voice sounds weathered and prickly. “You know, sadly, I’m just lazy,” he says. “The beard is much easier to manage than no beard because I don’t really have to do anything to it. Like once every three months I take some scissors and cut it back a little bit so it doesn’t take over any nearby villages.”

After a decade exploring the classic, Sonny Rollins-style sax-bass-drums ensemble (and other trio configurations including piano, guitar and even electric bass) Eugene sax master Joe Manis has ventured into another classic jazz assemblage: the organ trio, featuring recent NYC-to-Portland transplant George Colligan at the keyboard. Todd Strait will man the drum kit for this show 9:30 pm Friday, Sept. 27, at Sam Bond’s.

Don’t call The Evens a side project. “It’s a band,” insists Ian MacKaye, the musician behind some of the most iconic projects in American punk and hardcore music: Minor Threat, Fugazi and founding Dischord Records. After over three decades in the business, the reluctant legend’s passion for music hasn’t waned a bit. “Music is holy,” MacKaye says. Over the years MacKaye has championed a DIY ethos. “I’ve become a poster child,” he says, “but I just did my work.”

The members of Seattle’s alt-folk The Head and the Heart are growing up. According to drummer Tyler Williams, their approach to music is too.

When Gold Panda’s down-tempo electronica seeps into your ears, it can resurrect the feelings of being a small child sitting in the backseat during a road trip where your only possessions are a pair of headphones and the window-framed view of the world as it passes by in a whirl.

Over the past half decade or so, singer-songwriter Halie Loren has built an international reputation as a top-notch jazz chanteuse — an expert vocalist who is as comfortable sinking into the sultry croon of a classic like “My Funny Valentine” as she is reinterpreting a ’60s pop ditty like “Happy Together.”

Any discussion of Neko Case usually revolves around the voice — and a remarkable instrument it is: smoky, agile, delicate, strong, rich, expressive. Hers is a real sound that puts the fakers to shame. 

Picture Los Angeles. Highways, rolling hills, scatterings of high rises poking through the smog and a candy-cane striped Big Top tent coloring the skyline? The indie-folkstars Edward Sharpe and the Magnetic Zeros are joining the circus. 

Twenty-five years ago Bruce Springsteen was king of classic rock. Now, there seems to be a whole generation of young punk bands that claim The Boss as their own. And in hindsight, they just might be right. Brooklyn’s The So So Glos share Springsteen’s meat ‘n’ potatoes sound while remaining steeped in punk rock’s golden age.

Of all the serendipitous moments in music history, Rob Garza wandering into Eric Hilton’s Eighteenth Street Lounge in 1995 is one that should not be overlooked. The happenstance meeting in Washington, D.C., propelled the two producer-musicians into an expansive Grammy-nominated career as globetrotting downtempo duo Thievery Corporation.

In a post-Miley Cyrus world, people of a certain vintage are (again) all twerked-up over young people and their pop culture landscape. It was in this context I checked out the video for “Coming Down” by L.A. nu-metal outfit Five Finger Death Punch. 

Music nerds of Eugene unite! For all of you who raid House of Records looking for deleted Smiths singles and original (not rereleased) Frank Zappa albums, who own vinyl, cassette, CD and 8-track copies of the same album and especially for those who caught the High Fidelity reference, the time has come to commence under the roof of the Analog Resurgence Tour at Luckey’s on Thursday, Sept. 5.

Music news & notes from down in the Willamette valley.

There came a time late last decade where indie folk reigned supreme. Singer-songwriters flew out of the woodwork like gnats come to feast on the blood of a millennial Americana revival.

As summer drags doggedly on toward fall, it’s time to get those last lazy rays of sunlight under our skin. During this first week of September, the perfect soundtrack for such an affair will hit town. Ernest Greene, the one-man chillwave extraordinaire behind Washed Out, assumed his persona after failing to become a librarian.

Thao Nguyen wants to challenge the notion that people in prison are monsters.

Music news & notes from down in the Willamette valley.

Love or hate the idea of Emerald Meadows as a thumping festival hotspot pulsing with thousands of gyrating bodies, there is one thing no one can deny: Eugene has never seen a music spectacle like Kaleidoscope Music Festival (Aug. 23-25) before. EW stared down the barrel of that neon prismatic lens and came out the other end. This is what we saw.

Matt Pond’s sound is pure chamber pop: introspective and literate, backed up by lush string arrangements and delivered with classical music formality. Pond (who dropped the PA of his former band Matt Pond PA) toils in semi-obscurity, despite 10 full-length records and an impressive array of EPs. 

The man behind one of the New Wave era’s wormiest ear worms “Cars” could have been content to remain a one-hit wonder. Instead, industrial-synth pop pioneer Gary Numan has maintained a vital artistic output over a career spanning three decades. And this fall the iconic artist will put out Splinter (Songs from a Broken Mind), his first album of all-new material in seven years.