The Jan. 16 Eugene Symphony concert at the Hult Center opens with some of the 20th century’s most powerfully dramatic music: the “Four Sea Interludes” from Benjamin Britten’s mighty opera Peter Grimes. This performance of one of the greatest English composers’ most popular concert works misses by just a few days cashing in on Britten’s centenary celebrations, but we don’t need no stinkin’ birthday excuse to enjoy his music.
Chain and The Gang is an “anti-liberty” group, jokes Ian Svenonius. This doesn’t mean Svenonius takes personal freedom lightly. “We’re a little bit perverse,” says Svenonius, formerly of legendary D.C. punk bands Nation of Ulysses and The Make-Up. “We’re not interested in playing out this one idea of prescribed rebellion.”
“I don’t think most of my songs sound that much like Beach House,” says Meagan Grandall, primary songwriter of Seattle-based duo Lemolo. “But if they do to some people,” she adds, “then I’ll take that as a compliment.”
Nowadays fans get itchy for new material if a band hasn’t released anything in three and a half months, so the fact that Floater hasn’t released any new material in three and a half years (2010’s Wake) is saying something. Of course when you’ve been around for two decades, you can get away with it, but that’s not to say the band is making people wait on purpose; the timing just hasn’t been right.
On Tuesday, Jan. 7, psychobilly legend Reverend Horton Heat arrives at WOW Hall to promote the band’s new album, REV. They’re here to preach the “Gospel of Rock and Roll,” and you’ll be sure to hear a few new songs.
Classical music people are always fretting about how to keep the genre from declining along with its aging audience by getting hip to the 21st century. That means, at a minimum, doing what popular music, dance and theater have always done, and what classical musicians themselves did until the last few generations: perform the music of their own time, i.e., now. But sometimes it also means rethinking the presentation to suit today’s more visually oriented culture.
Singer-songwriter Samantha Crain decided to take a different tack with the creation of her most recent album, Kid Face, which came out in early 2013. “I wanted to do something autobiographical,” Crain explains.
Hailing from Fullerton, Calif., power-pop quartet Audacity is loud, brash and melodic, known for break-neck live shows and a tireless tour schedule. In 2013, Audacity released its third studio album, the Weezer-esque Butter Knife.
Sam Bond’s Garage bookends Sol Seed’s year quite well, and what a difference a year makes. On Dec. 31, 2012, Sol Seed played its first New Year’s Eve show at Sam Bond’s; the reggae fusion band will be reprising its role of ringing in the New Year with laid-back, back-beat cheer for 2014.
When interviewing a band called Levon’s Helmet, the lead question writes itself: What’s up with your most excellent band name? “Me and Gordon were in this band called Water Tower [formerly Water Tower Bucket Boys],” says Jason Oppat. “When we decided to make our own music we just went with it. At the time it was kind of a joke. It’s a little bit of a jab at folk and country music.”
The Motet, an octet, puts on lively “dance parties,” and their music incorporates elements of dance, funk, soul, salsa, electronica, Afrobeat and samba. Their self-titled album comes out on Jan. 25 and marks a rebirth for the band.
Baroque music and candlelight make a fine combination. On Thursday (12/20) and Friday (12/21), the Oregon Mozart Players’ annual Candlelight Baroque concert returns to the ideally intimate setting of First Christian Church.
If you’re looking for the life of the party, look no further than Celtic folk-punk outfit Toad in the Hole. And since EW last caught up with them in January, they’ve brought some new partiers to the scene.
Paul Basile, singer and primary songwriter of New York-based indie rockers Great Elk, is spending the winter playing solo shows. Great Elk’s 2012 release Autogeography is a sweeping, tuneful and epic work of American indie music.
After hitting major gigs like the Northwest String Summit and the High Sierra Music Festival this summer, the whiskey-shooting, feet-stomping, heart-pounding Americana group Fruition returns to Eugene to tour its new album Just One of Them Nights.
There are not many muses as evocative as the salty, salty sea. With that Pacific mistress nearby, The Crescendo Show knows this well. “The ocean is always tied into a lot of our music,” says Ricky Carlson, banjo, guitar, drum and back-up vocal Renaissance man for the Corvallis-based indie folk band. “It’s a pretty vast subject to write about it.”
If not for Irish singer-songwriter Damien Rice, Andy Frasco might have never found his muse. As a kid in Southern California, Frasco dreamed of being a music business behind-the-scenes guy — managing bands or running a label. Dropping out of school at the tender age of 14, Frasco started a booking agency and lied about his age to work at Capitol Records.
“It’s only a model,” Terry Gilliam’s Patsy says, sotte voce, with a shrug of Camelot in Monty Python and the Holy Grail. The soon-to-reunite Monty Python lads sure had that one right. Their spoof of Lerner & Loewe’s celebrated 1960 musical is an adaptation of T.H. White’s novel, The Once and Future King, which is an adaptation of Thomas Malory’s 15th-century epic Le Morte d’Arthur, which is itself a fanciful retelling of tales that probably have little to do with anything that actually happened way back when.