Lyrics like: “bridges hold a sky of tired birds”; “come October we’ll fill our blankets up with leaves”; and “we sway until the moon is on our shoulders” go to show Anna Tivel, known on stage as Anna and the Underbelly, has arrived as a songwriter.
On Nov. 23, the Eugene Symphony transforms an opera into a concert and a ballet into a play. The inventive show opens with Sergei Prokofiev’s intensely dramatic 1936 ballet score, Romeo and Juliet — but instead of dancers, the Silva Hall stage will boast a trio of actors from Ashland’s world-renowned Oregon Shakespeare Festival who will perform scenes from Shakespeare’s play, sometimes interpolated, sometimes in conjunction with the music.
Every culture lives in a state of duality, whether it’s past versus present, left versus right or some other ying yang. But few places have a physical barrier marking the binary like the border city of Tijuana, Mexico, where life, love and culture literally straddle a wall. This is where the sounds of the Nortec Collective, and its major players Bostich + Fussible, were born.
When I spoke to alt-country singer-songwriter Mary Gauthier, she was in Los Angeles on the first day of a nearly month-long cross-country tour. I joked that because she was just getting started, she wouldn’t be burned out by the time she got to Eugene 10 days later. Gauthier responded quickly and insistently: “I don’t get burned out. This is my job and I love it. This is a privilege. I may get tired but I would never call it burned out.”
New York City-based experimental duo Blues Control is made up of Russ Waterhouse and Lea Cho. Cho is a classically trained pianist. Waterhouse, a self-taught musician, started playing guitar and keyboards, and he began experimenting with home recording in high school. As a teen, he was a fan of Miles Davis’ electric era and free jazz pioneer Ornette Coleman.
It’s been three years since local singer-songwriter Anna Gilbert was dubbed Eugene Weekly’s Next Big Thing, and she has been busy. Since then, she has released an acoustic-themed holiday release, spent time writing country songs for other artists and now she is back with a new album, The Able Heart, which was released Nov. 5.
In the post-Halloween afterglow, there is a very good reason to catch frenetic “soul and roll” band The Pimps of Joytime: Bandmember Mayteana Morales played “Gaby” on PBS’ Ghostwriter. Now one of the Joytime’s lead vocalists, Morales helps create the band’s tight, punchy, soulful sound.
Stalwart Eugene live act Medium Troy has been undergoing some changes. “We used to be a big band, sometimes as many as 11 people on stage,” says JoJo Ferreira. JoJo and his brother, Jesse Ferreira, form the core of the group. “We had tours where half the band would bail and we’d be stuck without a drummer playing four-hour sets at a taco bar in Medford.”
Just when many proclaim “Last of!” or “Never again!” along comes a chap like Rufus Wainwright, the sort of entertainer some say “they just don’t make anymore.” Sir Elton John, for one, calls him “the greatest songwriter on the planet.”
Odd Future Wolf Gang Kill Them All — an L.A. hip-hop collective — burst out of nowhere toward the end of the aughts, filled with young, snot-nosed hooligans that acted as fresh tinder to a flickering rap scene. Consisting of mostly teenagers, OFWGKTA’s brightest star happened to be its youngest. Earl Sweatshirt, born Thebe Kgositsile, was barely 16 when he released his self-titled debut mixtape in 2010.
Rubblebucket is a bucket load of fun. Do you like fun? Do you like dancing? Do you like a woman leading six men into the head-bopping, toe-tapping, hip-swiveling, horn-happy fray, fighting off mediocre mainstream pop with trumpets, trombones and saxophones?
Along with creating lots of work for area dentists, Halloween heralds a couple of happier traditions. Mood Area 52’s annual live, original, tango-tinted score (for electric guitar, cello, accordion, bass, horns, toy piano and plentiful percussion) for F.W. Murnau’s classic vampire flick Nosferatu is always a hoot, and this year, the Oct. 31 show at the Bijou Theater is augmented by the band’s bonus original string band soundtrack to Buster Keaton’s 1921 short film The Boat.
Molly Hamilton and her songwriting partner Robert Earl Thomas of Widowspeak spent a lot of time on the road after releasing the critically acclaimed Almanac earlier this year. “We were stuck in a car a lot,” Hamilton says. “I was mostly writing down lyrics and ideas for new things, just to get them out of my system.”
Some folks might expect to find Starfucker under glass in Portland’s electro-pop history museum these days, but the band is still bopping along as though that whole Pyramiddd thing (their old moniker) never happened. Four albums after their eponymous debut’s single, “Rawnald Gregory Erickson the Second,” skyrocketed them to indie stardom.
Hank Williams III — better known as Hank 3 — is a maverick. If you want proof, consider the fact that he just released a double country album (Brothers of the 4x4) and a punk album (A Fiendish Threat), and did so on the same day. But that’s not even a record for him.
Consider for a moment the acoustics of a cave: vast and echoing but also claustrophobic and airless — a small drip of water reverberating to the ceiling and from the walls. Now, consider the acoustics of the band Cave and you have the latter. The Chicago-based, frequently instrumental group is celebrating the release of Threace, outOct. 15 on uber-hip record label Drag City.