Eugene Weekly

The music oozed by Radiation City is so warm and romantic that it’s a bit tedious to see the Portland band categorized time and again as indie rock, a genre that at times feels like it’s been hijacked by aloof, sullen drones.  “When I see that, it’s kinda — it’s a little bit baffling,” says Cameron Spies, guitarist and a vocalist for the band. “For one, indie rock is such a broad, general-ass word. The roots of our music are more in older styles of music, vintage styles if you will.” He adds, “The fact that we got lumped in there is more of an aesthetic.” Continue reading →

“Everyone loved The Milkmen in the early ’80s — the blues-ers, the punkers” says Dan Schmid, bass player for legendary Eugene band the Cherry Poppin’ Daddies. On Nov. 15, The Milkmen are reuniting for a one-night-only performance at Mac’s Restaurant at the Vet’s Club in Eugene. “It’d be nostalgic for sure,” Schmid continues. “[The Milkmen] were great. They rocked!” Continue reading →

What better way to celebrate the passing of Measure 91 than warmly welcoming the chart-topping roots-reggae band Fortunate Youth, whose sponsors include RAW Rolling Papers and Cannabliss Clothing and whose merch includes T-shirts emblazoned with “Love is the Most High.” The six-dude Hermosa Beach-based outfit recently released their fourth album, Fortunate Youth Dub Collections, Vol. 1, an album featuring electronic remixes of songs off previous albums (and, of course, weed references).  Continue reading →

Jake Smith, the singer-songwriter and mastermind behind L.A.-based trio The White Buffalo, sings in a rich, oatmeal baritone. And White Buffalo’s 2014 release, Shadows, Greys & Evil Ways — a loose concept record based around the characters Joe and Jolene — is a fitting backdrop for Smith, who looks like a Viking from Texas. Continue reading →

People who worry about classical music’s future point to its aging, dwindling audiences; stale, predictable repertoire (the same old pieces by the same old long-dead European composers); stuffy atmosphere (tuxedos! No unauthorized clapping!); dull, rote performances. Then come glimmers of hope like PROJECT Trio, which performs at The Shedd this Thursday, Nov. 6. Continue reading →

Sample “Till It’s Gone” from Southern rapper Yelawolf’s yet-to-be-released Love Story, and you might be surprised — first by the rich, oaky acoustic guitar line that kicks the track off and next by what the bluesy, looping arpeggios recall: the piano figure introducing Nina Simone’s classic “Sinnerman.”  Continue reading →