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The term “three-axe attack” is only scary when it isn’t referring to music. Southern rock band Drive-By Truckers specializes in this attack (a term that describes the arrangement of three guitars alongside bass and drums) and is scheduled to roll into Eugene for a show at the McDonald Theatre. 

In terms of hybrid world music, Hapa (pictured) blends a traditional sound — Hawaiian music — with western pop.

Ever gone to a bluegrass festival and just stared intently at the stage waiting for something other than blistering speed and old-time standards? Sure you have.

To most, the name Glen Matlock probably doesn’t stand out. However, considering the fact that Matlock was the Sex Pistols’ bassist before Sid Vicious joined the band in 1977, it probably should.

Bluegrass music is made for the mountains. It’s meant to be played on sun-swathed summer days deep in the heart of your home range, or in nearby, whiskey-warmed taverns. 

The Pacific Northwest is one of the most oversaturated markets around when it comes to reggae music. Is it the ganja?

Maybe you’re having one of those days when you feel like you need to stomp someone — or one of those evenings when the only thing that will make you feel better is a cognizant dip into swells of malt liquor and Southern-playalistic pseudo-thugged-out crunk music.

Let’s face it, jazz is perplexing: Beyond being compositionally complex and stereotypically highbrow, it’s also enigmatic in its far-reaching eclecticism. 

The number of veterans from jazz’s Golden Age is steadily dwindling, but a few artists continue making vital music.

Anyone who’s ever been in a band and grown frustrated by managing three or four different schedules while juggling three or four eccentric personalities would blanche at the prospect of being in Typhoon.

It’s one thing to be an innovative musician working the confines of your chosen genre; it’s quite another to reinvent the instrument you’ve mastered and revolutionize the way it is played. Grammy- nominated harpist Deborah Henson-Conant has accomplished this and more.

The thing about Coasting is that momentum equates productivity, not stasis — especially when the goal is organically rolling, low-pressure indie rock with teeth.

For those who fiend for the authenticity of Portland’s indie-art aesthetic, the idiosyncrasy of the power duo and the elegance of a classical stringed instrument, Talkdemonic is your Homeric lotus fruit, your Coleridgean Xanadu — with Lisa Molinaro on viola and Kevin O’Connor on drums, loops and laptop (and the occasional avant-banjo thrown in), Talkdemonic comes to Eugene as a complete package.

Dan Jones is the bed-headed poet laureate of Eugene. More of a verbal fix-it man than a lyricist, Jones finds beauty in the ordinary while coaxing poetry from things most writers leave in the garage.

You’re at your first Keller Williams show, not quite knowing what to expect. The stage is littered with guitars, a drum pad, speakers, synths. A regular-looking guy takes the stage and the crowd perks up.

There’s a rich supply of folk music out there, and it’s a vein that Opa Groupa isn’t afraid to tap. The band has formed its own brand of rhythmic, danceable world music.

Well, it’s more like beauties, beats, brass and bass when MarchFourth Marching Band (M4) is in town. For those unfamiliar, the Portland-based improv troupe is an experience of ruffled burlesque panties, bass guitar and the sonic blaring of saxophone.

There’s plenty of classical music played around town this month. The Eugene Symphony on Feb. 16 at the Hult performs a couple of popular chestnuts.

Is I Am Gemini a concept album or a rock opera? “People can call it whatever they feel comfortable calling it,” says Cursive vocalist and primary songwriter Tim Kasher of his group’s upcoming release. 

As far as contemporary hyper-relevance goes, Sazon Booyah is another supernova internet meme, exploding before discovery and peppering pop culture with the remnants.

Today’s musical generation has transcended guitar. There are probably a thousand objectors who could claim this statement is erroneous, but long gone are the days when guitar gods were held at the highest tier of mainstream music.

It’s refreshing to see a strong woman on stage with a mandolin in her hands. That particular role, typically dominated by male-bodied folk in string bands, is pivotal. The mandolin, usually seen played by women only in its classical guise, defines a great deal of string-band topography — those shrill plucks that carry listeners over musical plateaus to mountain-top exclamations. 

Pretend for a moment that you’re a member of an iconic music crew. You’ve released your seminal work years ago, and prevailing trends have seen the mainstream of your genre devolve from highly educated emcee orators into codeine-guzzling degenerates (here’s lookin’ at you, Wayne).  You don’t want to raise a white flag to the wackness, but you’re not about to give up on your life’s work either. What do you do?

With the contemporary convergence of hip hop and electronica, and the seemingly half-assed “’80s revival” of the last few years, it’s almost fantastical to imagine that groups like The Coup once had the chops to make it in the mainstream.