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Will Kennedy is a freelance writer and a senior music writer with Eugene Weekly. He lives in Eugene with his wife, daughter and two cats. All of whom politely accommodate his obsessions with Doctor Who and The Smiths.
Seattle’s The Cave Singers came out of the darkness around the same time Fleet Foxes did. But while the Foxes are all angelic harmony and shimmering guitars, The Cave Singers offer a grittier, bluesy take on indie-folk; if the Fleet Foxes serenade you from the town square, The Cave Singers stomp and clap on the back porch with vocalist Pete Quirk mixing a gruff, unschooled, gospel holler to the mix. Continue reading
In nature, colors communicate: Red means danger and avian mates are selected based on the hue of their feathers. In fact, when it comes to birds, the males almost always display brighter plumage and greater ornamentation than their female counterparts; think ducks, peacocks and birds of paradise. Charles Darwin concluded that sexual dichromatism (the color differences between sexes in species) is caused by an evolutionary-honed female preference for bright colors in males. Continue reading
If you’ve never heard Built to Spill, let me first ask you this: Have you been living on the moon for the past 20 years, or in a subterranean cave with no light or sound? ’Cause if you haven’t, then there’s really no other excuse to have missed out on some of the most vital and interesting guitar rock produced in the Northwest since Nirvana. Continue reading
I noticed a Kickstarter campaign the other day; someone is transcribing the flow of popular rappers into traditional music notation and wants help funding a book about it. I hear you can study “turntablism” at Boston’s Berklee College of Music. Does this mean rap is dead — or that it’s finally part of the establishment? Neither, if San Francisco-based indie rap icon Andre Nickatina has anything to say about it. Continue reading
The ’90s are back. Tribute nights to the decade of the Gap are popping up everywhere; Matchbox 20 is touring with the Goo Goo Dolls, and Boston-based Little War Twins kick off their album Marvelous Mischief with “One Bottle”— recalling the coiled-up intensity of fellow Bostonians and ’90s icons The Pixies before settling into a Ani DiFranco-esque easygoing folk-swing backbeat, but unfortunately falling a little short of both. Continue reading
It’s surprising someone hasn’t done it sooner. On April 16, Ghostface Killah is releasing Twelve Reasons to Die — a companion album to a comic book of the same name. Given the exaggerated, cartoonish bravado and gritty, urban crime-world motifs of hip hop, the pairing makes perfect sense. And the online trailer for Twelve Reasons to Die is full of noir, Tarantino-style atmosphere referencing classic Blaxploitation films. Continue reading
The recipe for an iconic record goes something like this: Take impressionable youth, mix in a fresh take on heartbreak, cook in the heated soul of a teenager and let cool. Those who lament a dearth of classic albums these days often forget that last part, that bona-fide legendary music isn’t always readily apparent, that it takes time for it to rise above the riff raff and noise. Continue reading
Christopher Owens’ former group Girls set the indie world on fire with their 2009 underground hit Album. Owens’ singing voice drew comparisons to Elvis Costello; the songs evoked ’60s power-pop, ’70s punk and contemporary indie rock. Continue reading
Robin Runyan is a four-year CrossFit veteran and coach. She came to CrossFit because other workout and conditioning programs didn’t hold her attention; CrossFit’s quick pace, varying routines, close-knit community and friendly competition appealed to her. Runyan is with me at Eugene CrossFit, near Valley River Center, to guide and coach me through my first workout. I’m far from an exercise enthusiast, so I’m going to need all the help I can get. Continue reading
LA-based Foxygen takes your dad’s classic rock LP collection, consumes it and filters it through their ADHD brains, regurgitating 2012’s Take the Kids Off Broadway or 2013’s We are the 21st Century Ambassadors of Peace and Magic — big, sloppy, messy records referencing everything from the Rolling Stones to the Kinks to the Mysterions, but with a certain post-vinyl-revival sense of irony; like Brooklyn’s MGMT, they don’t limit their frame of reference to punchy classic rock. Continue reading