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Music

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.

Seattle duo Noise-A-Tron possesses a keen understanding of the space needed for music to breathe. The band, consisting of Lea and Jason Bledsoe, creates a huge sound without falling prey to two-piece rock stereotypes. 

Like a 4th of July fruit salad made from syrupy pineapple, maraschino cherries and hand grenades, Jon Spencer Blues Explosion roars back with Freedom Tower — No Wave Dance Party 2015, out now on Mom + Pop Records. 

Willis Earl Beal sounds like your favorite vinyl: scratchy, with a cosmic understanding of the word “cool” and a distinct otherworldliness.

Thanks to what’s called the Little Ice Age, Europe could be a chilly place during the 16th through 18th centuries, all the more reason to seek solace in warm music and celebrate spring’s advent. 

Baltimore electronic composer Dan Deacon is shaping up to be far more than the avant-garde party-guy flavor of the week he seemed destined to be when he smashed onto college-radio charts with 2007’s Spiderman of the Rings. Fast-forward five years to the critically acclaimed and orchestrally driven America, and Deacon seemed poised to become some kind of indie-electronica Philip Glass.

Grant Kwiecinski, aka GRiZ, is a 24-year-old DJ and producer from Detroit. Watch his concert footage and find crowds donned in neon and screaming over thunderous bass with beach balls sailing everywhere. Many deem this pop, and it’s certainly popular: 2012’s “Smash the Funk” already has more than a million listens on Spotify.  

Pacific Northwest post-punk trio The Ghost Ease rides a fine line between raw, quiet-loud-quiet indie rock and brooding darkwave. 

“I definitely let his royal purple-ness influence this record,” says Ruban Nielson, Unknown Mortal Orchestra bandleader. The popular Portland band is preparing to release their Prince-influenced new album Multi-Love May 26 on Indiana’s Jagjaguwar label.

Like the blossoms that have been emerging this spring, Oregon classical music is entering a period of renewal. 

Salt Lake City’s Heartless Breakers play a brand of bombastic, overwrought rock ‘n’ roll popularized at the turn of the millennium — a style known as emo. 

Sapient might just be the biggest rapper you’ve never heard of, which is a sad fact considering the Portland-based artist grew up here in Eugene. As one half of hip-hop duo Debaser, as well as a member of Sandpeople, he’s rubbed elbows with members of Hieroglyphics, Living Legends and Grayskul.

“Hey Ho! Let’s Go!” The classic battle cry will inevitably reach the rafters this Sunday as Richie Ramone, one of the last remaining member of classic punk-rock act The Ramones, brings his leather-clad gospel anew to Eugene. 

“Still a real world here,” sings Joanne Rand on the track “Real World” from her 2014 album Still a Real World. The song is a manifesto of sorts, cajoling us to disconnect from our networked lives and refocus on the material world. 

With his always-vacant bug eyes, gap-toothed perma-grin and just-rolled-out-of-bed demeanor, Canadian musician Mac DeMarco is indie rock’s greatest goofus. 

There’s a new sound in the underground and it’s taking foothold in Eugene. The sound is called electro swing, or e-swing, a blending of modern techno, bass and house music with vintage jazz and swing music of the ’20s, ’30s and ’40s. For Eugene’s plentiful, dance-hungry audiences, this combo is a no-brainer.

Straight-edge bands get a bad rap. Often unfairly branded as a general crankiness toward all things fun, the straight-edge, or “sXe,” movement is largely anti bar, house party or any other place where drugs or alcohol might rear their ugly heads. It isn’t a scene particularly synonymous with “ragers.” 

Colorado producer, DJ and electronic musician Michal Menert is called “the Godfather of Electro-Soul.”  “It’s a title the fans have given me,” Menert tells EW via email. He says his work with trendsetting artist Pretty Lights put him at the forefront of the white-hot EDM scene.

If music is the universal language, the voice is the universal instrument.

“People won’t commit to your music if you don’t commit to it first,” says Sam Wartenbee, Eugene rapper and Crushkill Recordings artist.

If you’ve paid attention to local music for any length of time, chances are you recognize Wartenbee (aka Sammy Warm Hands), whether from hardcore punk band This Day’s End or local hip-hop act The ILLusionists. 

With a gender twist on the Adam and Eve story, Montreal’s experimental techno musician Marie Davidson offers us the apple of temptation.