Eugene Weekly

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.”  Continue reading →

At first listen, Portland’s Ages and Ages seem to provide the perfect indie-pop soundtrack to a lazy afternoon spent in careless sun-soaked abandon. But, an underlying darkness looms. Much like the joyous gloom-tinged rock of Denmark’s Alcoholic Faith Mission, frontman Tim Perry and company craft songs that are harmonious, lush and joyous while heavily colored with angst, strife and the difficulty of remaining a decent human being. This is particularly so on their 2014 sophomore release, Divisionary.  Continue reading →

Would you like a gin and tonic with that guitar riff? How about a rum and Coke with that rhyme? “In Eugene, you’ll see a bartender onstage everywhere you go. We all play music,” says Casey Lynch, Level Up Arcade manager and bartender. Lynch is a prime example. Known to most as KI Design (emcee and ringleader of local hip-hop crew, The Architex), he has played countless shows, including a weekly residency — “Private Stock” at Luckey’s Club — going on four years now.  Continue reading →

In the fog-ridden murkiness of Cascadia, one can easily forget that not all metal is black metal. Shattering our illusions of “all-grim everything” comes the brilliantly crisp technical metal of Archspire from Vancouver, B.C. Sharing the brutal gospel of last year’s The Lucid Collective (released on the Season Of Mist label), the tech-death powerhouse has been tearing up stages aside the likes of Fallujah, Origin and Fleshgod Apocalypse, all the while winning over new converts.  Continue reading →

Nihilism and depression have long been compatriots. Dwelling together in the darkness, they lay entangled, drawing from one another, separate, yet not inseparable.  Continue reading →

What does one do after breaking up a successful and influential band? If you’re Christopher Hall of The Dreaming, you start again, but this time as a supergroup. In the late ’90s, Hall’s previous project, Stabbing Westward, took modern-rock radio by storm with singles “Shame” and “Save Yourself” before calling it quits in 2002. Unwilling to remain idle, Hall and drummer Johnny Haro formed The Dreaming later that year.  Continue reading →