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.”
Listing your favorite music genres to include “everything but country” has been in vogue since country went from Hank Williams to Kenny Chesney. But honky-tonk duo The Earnest Lovers are making country cool again with their ’50s and ’60s-style serenades.
Bay Area act Ensemble Mik Nawooj fuses classical, jazz and hip-hop lyricism to create a sound with the explosive intensity of orchestral post-rock. Composer and pianist Joowan Kim takes his love for Western European classical composition and — with the help of a six-piece chamber orchestra, funk-rock percussion, a lyric soprano and rappers Do D.A.T. and Sandman — he crafts modern classical the likes of which have never been heard.
Familiar things are sometimes best interpreted by strangers. International musician Monk Parker knows this better than anyone. Splitting his time between the states and the U.K., Parker’s music is influenced by his English mother — an avant-garde, minimalist sculptor — and his more traditional American father.
The Eugene Symphony has long-enjoyed a reputation as Oregon’s most forward-looking orchestra. Particularly after visionary music director Marin Alsop ascended the podium in 1989, the Eugene Symphony Orchestra’s programming of contemporary and especially American music put it — and Alsop — on the national map. While the usual 19th-century classics have always dominated the repertoire, Alsop’s successors Miguel Harth-Bedoya and Giancarlo Guerrero continued to feature more 20th- and 21st-century music than typical American orchestras.
Since Matt Bishop and a group of University of Washington friends started up Hey Marseilles back in 2006, the six-piece chamber-pop band has released two full-length records, secured accolades from NPR and Seattle Weekly and played hundreds of shows all over the country.
Five years ago, Berlin-based interdisciplinary artist Danielle de Picciotto decided to do something about Berlin’s gentrification, skyrocketing rents and creeping homogeneity. Along with her husband, Alexander Hacke of seminal German industrial band Einstürzende Neubauten, de Picciotto gave up her home in Berlin to become a self-proclaimed nomad — traveling the world in order to examine and attempt to solve the scourge of gentrification in the world’s greatest cities.
Eugene’s The Sawyer Family has been crafting blistering tales of death, murder and suffering since 2001. The psychobilly-cum-swampy-stoner-metal act has seen lineup changes, growing pains and years of touring since its early rockabilly days, elevating themselves into a genre-defying monster.
When your band is named He Whose Ox is Gored, people are going to have preconceived notions about what you sound like.
“We started having that post-hardcore influence, a little bit of doom,” guitarist Brian McLelland tells EW. The up-and-coming Seattle quartet is touring in support of its latest release The Camel, The Lion, The Child, out now on Bleeding Light Records.
Five years ago Pantheon frontman Skyeler Williams saw an opportunity where others might have merely seen cause for complaint. He perceived what he calls “a consistent exclusion of heavy music at community events.” Luckily for Eugene’s metal scene, the hardcore vocalist is not the type to take things lying down. As the music booker and sound engineer at downtown bar The Black Forest, Williams decided to take advantage of the tools available to him and set out to change things.
In 2008, songwriter KimyaDawson’s caustic naiveté perfectly captured the precocious character Juno from the popular film of the same name.
Dawson got her start alongside Adam Green in New York “anti-folk” duo Moldy Peaches. Together they made acoustic music that winked at folk and psychedelic idioms alongside sometimes surreal and sometimes hyper-real lyrics.
Los Angeles hard-rock act Stitched Up Heart has a unique approach to self-promotion: They make music and share it live. With a handful of festivals and a few hundred shows under their belts since their 2010 inception, the band members shirk online promotion and big-hype tours in lieu of a simple work ethic and nose-to-grindstone approach.
The members of Eugene post-rock band This Patch of Sky are just a bunch of romantics. “For a bunch of tattooed, bearded guys, we make pretty music,” guitarist Joshua Carlton jokes with EW. The band returns to the stage Aug. 22 at WOW Hall, alongside Hyding Jekyll, Children and Seattle’s Rishloo.
Idealized non-conformism is not a revelation. Forty years ago, the punk movement built its own little utopia on a foundation of middle fingers. But what causes a movement to become a factory setting? Isn’t there inherent irony in a generation of non-conformists conforming to non-conformism, especially when that generation seems hard put to define the word irony?
Jazz sometimes gets slagged as mainly grooves for dudes, but women have always contributed enormously to the genre, even if they’ve not received attention proportionate to their contributions. This Thursday, Aug. 13 at The Shedd, the Oregon Festival of American Music (OFAM) showcases three of the most popular female jazz singers of the 1920s.
Chicago duo Zigtebra is comprised of vocalist Emily Rose and guitarist Joseph Dummitt, two half-siblings that weren’t close as children. Fate led the pair to the Chicago-based avant-garde dance troupe, True Magical Love.