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When EW caught up with The Horde & the Harem (THATH)’s Ryan Barber, he was in heaven. Well, at least music heaven for the hip-and-up-and-coming as well as the hip-established: South by Southwest.

Fishtank Ensemble’s lead singer Ursula Knudson likes to play music at the edge of the world, whether that’s breaking out her violin in the rural pockets of Maine or twangin’ on her hand saw at the tip of the heel of the boot of Italy.

The emotional barometer of bluegrass registers somewhere between hilarity and sorrow, like a hee-haw hiccup after an epic night of breakup drinking. Bluegrass laughs at funerals and cries at birthdays.

A few years ago, the Eugene Opera seemed moribund — a “dead man walking,” to use the phrase applied in prison to an inmate condemned to death. But in the past couple of years, it’s gotten a reprieve — or rather engineered a resurrection.

If your band has been around for 15 years and you have released almost 20 albums and live DVDs combined, then you are definitely doing something right. Andy Farag — the percussionist for the popular progressive rock band Umphrey’s McGee — understands the secret to the band’s longevity.

Does the band name Glitter Dick mean a penis covered with glitter? Or a jerk who likes to be sparkly? Does it matter? No, nothing matters but the music, having good stage names and perfecting your delivery of “Whoa yeah.” 

Channeling traditional, African vocal styles such as isicathamiya and mbube, Ladysmith Black Mambazo is a male choral group that will not only challenge your preconceptions about world music, but will also have you grooving to something new.

American history is rooted in the spirit of revolution, and Fast Rattler wants you to remember that. Brendan Phillips sings: “Take it to the streets; the streets are where we win.”

Odesza came about when BeachesBeaches and Catacombkid, two well-known Seattle-area producers, joined forces. The results have Pacific Northwest techno fans pretty excited.

At this stage in his storied career, it is hard to imagine there is anything left for B.B. King to accomplish. Arguably the most influential blues guitarist ever, he has been inducted into both the Blues and Rock & Roll Halls of Fame, has won 15 Grammys and been given a Grammy Lifetime Achievement Award.

Monday, March 4, at the UO’s Matthew Knight Arena is going to be a fizzy, indie-pop playground in three acts: Alt-rock-pop kings Passion Pit, indie-pop darlings Matt & Kim and Swedish DJ pop duo Icona Pop — too bad it’s a school night.

There is a common misconception about conscious hip hop. “I don’t give a fuck, you can call us conscious, but rappers hit the stage spitting fucking nonsense,” Aaron Harris raps on the latest Eastern Sunz EP, Filthy Hippie Music, a sly retort on being labeled as environmental hip-hop artists.

While backward-gazing classical music institutions slip further and further into cultural irrelevance — see, for example, the Eugene Symphony’s season schedule, containing a total of two works by living composers — those who cherish the future of classical music can look to fountains of innovation such as the University of Oregon.

Reverend Horton Heat have decided to drop by, fairly unannounced, this week, to John Henry’s. Yes, you heard us right — it’s the Reverend Horton Heat.

Can vulgarity be artful? Can obscenity be beautiful? Who decides these things anyway? Who knows? Indie hip-hop/rock experiment Why? is pushing the boundaries, trying to find out.

If you want to know what Robin Bacior sounds like, and I mean really sounds like, listen to her 2013 EP I Left You, Still In Love (available for free until Feb. 25 at robinbacior.bandcamp.com).

Electronic music is criticized for using cold and soulless sounds made by machines. It’s often dismissed as falling in one of two camps: sleep-inducing new-age soundscapes or frantic beats for sleepless day-glo ravers. Sound Tribe Sector 9 (STS9) is here to prove both of those assumptions wrong.

While the Terrible Buttons describe themselves with the tongue-in-cheek classification “horror folk,” they’re quick to distance themselves from other bands in the recent folk revival.

Connor Martin really wants to party with you. In fact he’s driving up and down the entire West Coast building an army of eccentric, neon-clad youth.

Classical music is often rightly accused of ignoring the here and now. Fortunately, many younger composers are using classical and postclassical forms to help us understand the sometimes-unpleasant realities of the world we live in.

Sometimes it really is all in a name: Bone Thugs-N-Harmony. Since the early ’90s Bone Thugs have blended straight-up thuggery with some sweet Temptations-style harmonies, creating one of the most distinctive rap/soul hybrids of the hip-hop era.

Many musicians are coy when it comes to the meaning behind their songs, but not the refreshingly candid Lindsay Rachel Rilko, lead singer for Lindsay Lou & The Flatbellys.

It makes sense Dead Prez are in town for the UO “Social Justice, Real Justice Conference.” The New York-based hip-hop group has long taken on politics in its work since they began in the late ’90s.

Eugene is about to swallow a whole lot of Austin, Tex., grunge-rock vigor; The Blind Pets are inspired by a DIY attitude and a complete lack of concern or sympathy for bullshit rock ’n’ roll.