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Music

From Joseph Joachim to Jascha Heifetz to Itzhak Perlman to Joshua Bell and so many more, solo violinists have been the closest things to rock stars in classical music. Star pianists like Liszt and Glenn Gould and Van Cliburn might argue, but as even flamboyant rock pianists Little Richard, Jerry Lee Lewis and Elton John discovered, it’s easier to flash your chops onstage when you can stand up and move around.

Ani DiFranco has had many labels — singer, multi-instrumentalist, songwriter, poet, activist, feminist, businesswoman — but at the end of the day she’s just Ani. Unlike so many in her business, DiFranco has flourished by staying true to her character and forging her own path.

Pete Bernhard, guitarist with the Santa Cruz-based The Devil Makes Three, says you’ll hear all kinds of old-timey music on his band’s latest release, Redemption and Ruin.

Los Angeles songwriter Phoebe Bridgers is emailing me from Europe, riding in a van somewhere between Germany and the Netherlands. “I can see miles and miles of forest,” Bridgers writes, “and every once in a while a big open field.” It’s a lonely scene that sits nicely alongside Bridgers’ lonely music.

A recent University of Oregon grad, now teaching in Indiana, Krause just wrote a string quartet inspired by views of Oregon’s Cascade mountains (Jefferson, the Sisters, lava fields, lonely trees, etc.) from the Dee Wright Observatory. The terrain and the feelings evoked by the Cascades are audible in Krause’s music, commissioned and performed by Eugene’s Delgani String Quartet this Sunday (Nov. 5) afternoon and Tuesday (Nov. 7) night at United Lutheran Church, 2230 Washington Street.

David Pacheco, vocalist and guitarist with Thee Commons, discovered cumbia back in the 1980s, when the style took Los Angeles by storm.

“Cumbia music originated from Colombia,” Pacheco explains, “from areas of less affluence.” The kind of places where, a little like food, you can find world’s best music.

Portland indie act Reptaliens contains a lot of contradictions. The band’s central songwriting team, husband and wife Cole and Bambi Browning, share a love story. They came together because of music, and Bambi says she finds marriage not unlike being in a band.

Danny Kime of downtown Eugene music venue Hi-Fi Music Hall says everyone on his staff loves Halloween. “It’s such a big deal in Eugene,” Kime says. “People love to dress up.”

Mary Lambert’s perfected pop music is like the Powerpuff Girls meet Kate Nash (but from Seattle, not London). Her newfound hold on the genre is sugar, spice and a slew of self-growth stories told with quirky lyrics and contagious melodies. 

In November 2016, Eugene post-rock band Gazelle(s) were in Joshua Tree, California tracking their debut LP, There’s No One New Around You, at Rancho de La Luna. The legendary recording studio owned by Dave Catching, a touring member of Eagles of Death Metal. Well-known acts like Queens of the Stone Age and PJ Harvey have recorded at Rancho de La Luna, and Gazelle(s) bassist Neal Williams calls the opportunity for his band to record there “a gift from Ninkasi.”

Iron & Wine singer-songwriter Sam Beam is a breeze throughout the seasons. For more than a decade, his sound has wistfully danced through somber winters to the thawing afternoons of spring — at the core of his sound’s evolution lies the wind’s intrinsic trait: persistence.

October closes with a plenitude of pianistic delights for classical music fans, beginning with Thursday’s Eugene Symphony concert at the Hult Center featuring the rising young pianist Conrad Tao.

Thirty-two years ago next month, The Jesus and Mary Chain, a band created by Scottish songwriting brothers Jim and William Reid, released its debut album Psychocandy.

Detroit’s Protomartyr might be America’s greatest rock band. They also might not be. Either way, Protomartyr vocalist Joe Casey says he doesn’t really care.

“When we started this band,” Casey tells me over the phone, “we had no illusions we were going to be in the back of limousines and playing arenas and things like that. The bands that we like were never the most popular things on Earth.” 

Maybe Jimmy Buffett is just a guy living his best life. Maybe I’m just jealous. But there’s always been something about his leering, capitalist grin that makes me queasy.

On his 13th birthday in the early 1970s, Scott “Wino” Weinrich, vocalist and songwriter with Maryland hard rock act The Obsessed, saw Black Sabbath perform live.

These days, some people complain we’ve become too politically correct, or that we’ve become afraid to say what we really mean. Murray Acton, better known as The Cretin from classic Canadian hardcore punk act Dayglo Abortions, isn’t concerned about that sort of thing.

Carole King vaulted to fame by co-writing a slew of sensational ’60s hits for various bands, most notably the Shirelles’ “Will You Love Me Tomorrow?” She solidified her position as one of the 20th century’s greatest songwriters with a series of 1970s triumphs, beginning with her landmark Tapestry album featuring King’s own voice and piano, which sold more than any single pop album of that time and helped kickstart the singer-songwriter era.

The music and aesthetic of London-via-New York musician Gustav Ahr, better known as Lil Peep, is such a Frankenstein’s monster of rap, emo and indie rock that it’s tempting to suspect it came from a coldly calculating music industry boardroom rather than the creative voice of an independent artist. 

Margaret Butler, singer with Milwaukee-based electropop act GGOOLLDD, calls her band’s music “dungeon disco glam.” (Pronounced “gold,” the unusual spelling of the band name comes from Butler’s trying to differentiate her band in Google searches. Entering “Gold band” into Google brought up a bunch of wedding rings.)

Oodles of music fans around the world recognize the voice of Eugene musician Halie Loren — that smooth, rich, pitch-perfect instrument that’s graced nine album’s worth of pop and jazz. Fewer, it would seem, are aware that Loren is also a crackerjack songwriter, but one listen to “Butterfly” from her most recent album, Butterfly Blue, reveals a sophisticated composer and lyricist who seems poised to soar solely on the strength of her own originals.

Before it was a band, Nerve was a jam session at a little New York bar that quickly grew into a regular dance party at a bigger club and then became a touring band (bass, drums, keyboard, DJ/mix) that blends jazz, electronic music and various experimental strains into a true 21st-century sound.

It’s propelled by Zurich-born one-time jazz “drum god” JoJo Mayer, who in his youth backed legends like Dizzy Gillespie, Nina Simone, Sonny Fortune and Monty Alexander.

Back in 2007, rapper Lil Wayne no-showed for a concert at MacArthur Court on the University of Oregon campus. Katie Matthews, life-long hip hop fan and employee at Skip’s Records & CD World in west Eugene, says she’s “still a little bitter about it.” 

At the time, Wayne was considered the greatest rapper in the game. Fans loved his free-associative and surrealist lyrical style and bad-boy image. Detractors labeled him cartoonish, but many found his madness inspired.

Michelle Zauner, who writes music under the moniker Japanese Breakfast, was born in Seoul, Korea, but grew up right here in Eugene. “I feel like I got my start there,” Zauner tells Eugene Weekly over the phone.

Zauner started writing music at 16 and took guitar lessons at Guitar Center’s Lesson Factory. She played her first shows, in a band called Little Girl Big Spoon, at Cozmic Pizza (now Whirled Pies) open mics, WOW Hall and South Eugene High School (where she attended school).